View allAll Photos Tagged polypropylene
Lampshade hanging in the new Ginette Concept Store store in Beirut:
The superfuture blog has some other pictures of the space:
www.superfuture.com/supernews/?p=45558
Architecture and Space: Raëd Abillama architects
Stackable chairs made in Brazil by Plasnorthon using Polypropylene plastic. This very pleasing design follows the monoblock plastic chair tradition began in the 1960s or even before, with the first plastic chair shells by the Eameses in the late 1940s.
1967 Polypropylene Armchair Design by Robin Day for Hille (England)
Orange shell with aliminium tulip feet base (table height)
My last Robin Day find in Stuttgart (Deutchland)
Number 46 to number 49 ...
should consult the description of this set to understand fully the particular use of "number" www.flickr.com/photos/teddy_qui_dit/sets/72157622707427384/
Fladry consists of polypropylene cording or similar material on which red or orange cloth flagging or plastic vinyl taping is hung at intervals and strung on temporary or permanent fence posts. First used in Europe to surround wolves to hunt them, fladry has been adapted for use as a nonlethal wolf deterrent. Because carnivores are often wary of new items in their environment (like fluttering flags), they are cautious about crossing the fladry barrier.
USDA photo by Wildlife Service
Trying out some poly rope for a change. Forget tying any knots with it - but the colour is beautiful and the price is right.
An unusual visitor to downtown; getting some electronics installed.
Built by Fort Garry Fire Trucks in Winnipeg, Manitoba. This fine looking unit belongs to the fire department at Canadian Forces Base Esquimalt.
For the technical types, here are some details: Range Fire Fighting Vehicle. International 7400 4x4 cab and chassis; MaxxForce 9 330-hp engine; Waterous CPD-2 350-gpm pump; Waterous Crossmount CAFS system with Deutz 60-hp engine; 1,000-gallon hot dipped galvanized CoreTen steel tank; 25-gallon polypropylene foam cell; Waterous Aquis 1.5 foam system with 80-CFM CAFS.
2010 Millennium XLII, #9399
Sildes: 2 - Rear Super Slide (Prevost)
MILLENNIUM UNIT #9399
2010 XLII S2 REAR SUPERSLIDE
CHASSIS SPECS
GENERAL
LENGTH, OVERALL 45.0 FT.
WHEELBASE 314.0 IN.
WIDTH, OVERALL 102.0 IN.
HEIGHT, OVERALL 140.0 IN.
FLOOR-TO-CEILING HEIGHT 86.0 IN
CABIN FLOOR HEIGHT (FROM THE GROUND) 48.5 IN.
USABLE CABIN FLAT FLOOR LENGTH
(NO WHEEL HUMPS) 34.75 FT.
UNDER-FLOOR STORAGE (WITH DRIVER A/C) 407 CU.FT.
UNDER-FLOOR COMPARTMENTS DOORS WIDTH 60.5 IN.
ENTRANCE DOOR WIDTH 30.0 IN.
STEP HEIGHT 15.0 IN.
GROUND CLEARANCE 11.0 IN.
OVERHANG (INCL. BUMPER) — FRONT 68.75 IN.
OVERHANG (INCL. BUMPER) — REAR 107.75 IN.
TURNING RADIUS 41.8 FT.
BODY CONSTRUCTION (STRUCTURE) INTEGRAL
BODY CONSTRUCTION (STAINLESS / RUST PROTECTED MILD STEEL)
(OUTER SHELL – UP TO WINDOW LEVEL) STAINLESS STEEL
BODY CONSTRUCTION (SUB-FRAME) LOW-ALLOY/HIGH TENSILE STEEL
FUEL TANK (US GALS.) 208
FUEL FILLER NECKS ON BOTH SIDES
GROSS VEHICLE WEIGHT RATING (LBS.) 54,500
AXLE DESIGN LOAD CAPACITY (LBS.) – FRONT 18,000
AXLE DESIGN LOAD CAPACITY (LBS.) – DRIVE 22,500
AXLE DESIGN LOAD CAPACITY (LBS.) – TAG 14,000
WET WEIGHT - WITH DRIVER A/C (LBS.) 31,150
WET WEIGHT - WITH FULL A/C (LBS.) 31,850
DRIVER-ONLY A/C
2
TIRES AND WHEELS
MICHELIN 315/80R22.5 (DRIVE)
MICHELIN 365/70R22.5 (FRONT & TAG)
ALCOA ALUMINUM RIMS
22.5 X 10.5 IN. (FRONT & TAG AXLES)
22.5 X 9 IN. (DRIVE AXLE)
POWERTRAIN
DETROIT DIESEL SERIES 60 W/EGR 14L-515HP (5-YR. WARRANTY)
3-SPEED ENGINE COOLING FAN
ALLISON WORLD B500, 6-SPEED AUTO. TRANS. (5-YR. WARRANTY)
CRUISE CONTROL
ALLISON HYDRAULIC TRANSMISSION RETARDER
PNEUMATIC DRIVE BELTS TENSIONERS
TURBO BOOST GAUGE
ENGINE COOLANT FILTER
RACOR FUEL FILTER
BRAKES
ALL-DISC BRAKES WITH ABS
FRONT WHEELS BRAKE BOOSTERS TYPE 27
DRIVE WHEELS BRAKE BOOSTERS TYPE 24-24
TAG WHEELS BRAKE BOOSTERS TYPE 14-16
PARKING BRAKE BOOSTER ON TAG WHEELS
STEERING AND SUSPENSION
PNEUMATIC TILT & TELESCOPIC STEERING WHEEL
ZF SERVOCOMTRONIC VARIABLE POWER STEERING
INDEPENDENT SUSPENSION SYSTEM
STEERING SLAVE CYLINDER
FRONT & DRIVE AXLES SWAY BARS
INTEGRATED PNEUMATIC LEVEL-LOW LEVELING SYSTEM
LIFTABLE TAG AXLE
3
ELECTRICAL SYSTEM
FULLY MULTIPLEXED ELECTRICAL SYSTEM
12-VOLT EXT. LIGHTING
24-VOLT MAIN SYSTEM
SHELL ALTERNATOR (DRIVER A/C) 140 AMPS
FACTORY-INSTALLED OPTIONAL EQUIPMENT
FACTORY SLIDE-OUTS (ALL-ELECTRICAL) 2 SLIDES W/ REAR SUPERSLIDE
ROADSIDE FRONT
ROADSIDE REAR (SUPERSLIDE)
KIDDE DUAL SPECTRUM FIRE PROTECTION SYSTEM
HIGH-INTENSITY HEADLIGHTS
FOG LIGHTS
RAMCO REMOTE HEATED REARVIEW MIRRORS
CENTRAL ELECTRICAL DOOR LOCKING SYSTEM
REMOTE KEYLESS LOCKING (ENTRANCE DOOR)
REMOTE KEYLESS LOCKING (COMPARTMENT DOORS)
TRAILER HITCH PACKAGE (20,000 LBS.)
LOW FUEL WARNING LIGHT
COURTESY LIGHTS BLINKER SWITCH
ENGINE AND COMPARTMENTS LIGHTING
ISRI AIR ADJUSTABLE (6800)
FACTORY EXTERIOR PAINT W/SPECIAL EFFECT
BACK-UP SOUND ALARM
HEADLAMPS CLEANING
GENERAL
XENON HEADLAMPS
AIR POCKET DOORS WITH ROD LESS CYLINDERS
FLEXFOIL INSULATION ON INTERIOR OF SHELL
MARINE GRADE ELECTRICAL WIRE
LUTRON HOMEWORKS ILLUMINATION CONTROL SYSTEM WITH REMOTE DIAGNOSTICS OPTION
5 CRESTRON TOUCH SCREEN CONTROLLERS LINKED TO LUTRON HOMEWORKS OPERATING SYSTEM WITH IPHONE
/ I-TOUCH AND LAPTOP CONTROLS
FULLTIME INTERNET WI-FI NETWORK CONNECTION
4
RUSSOUND CAV6.6 SIX-ZONE
A/V PROCESSOR
DVD/VCR RECORDERS WITH DIGITAL TUNERS
(2) SATELLITE DVR RECEIVERS
(1) ESCIENT MEDIA SERVER WITH 500GB STORAGE
CEILING LED ROPE LIGHTING THROUGHOUT
MARINE GRADE BRASS LED OVERHEAD LIGHTS
MULTI-ZONE AQUA HOT HEATING SYSTEM WITH DUAL 1500 WATT ELECTRIC ELEMENTS
INTERIOR AND EXTERIOR LED LIGHTING
MOTORIZED HUNTER DOUGLAS CELL SHADES
FRONT AND REAR CUSTOM SPOILERS
STATEROOM
MAIN VANITY
32” FLAT SCREEN LCD MONITOR
AIPHONE INTERCOM WITH BUILT IN MONITOR TO VIEW ENTRY DOOR
MASTER LIGHTING SWITCH ON THE REAR NIGHTSTAND AND FRONT
ELECTRIC BLACK-OUT SHADES
PRE-WIRE FOR CEILING FAN
CARBON MONOXIDE DETECTOR
SMOKE DETECTOR
SPECIAL LIGHTWEIGHT SOUND INSULATION PACKAGE
FABRICA CARPETING WITH HIGH DENSITY PADDING
TEMPER-PEDIC KING SIZED ADJUSTABLE BED
LEFT AND RIGHT END TABLES AT HEAD OF THE BED
DRAWER BENEATH THE FOOT OF THE BED
MIRRORED CEILING
CUSTOM BEDDING
CARPET LINED WARDROBE CABINETS WITH CEDAR CEILINGS
LAVATORY
120-VOLT VANITY LIGHTING
120-VOLT OUTLET IN BOTTOM AND INSIDE UPPER VANITY CABINET
FANTASTIC VENT OVER SHOWER AREA WITH COVER
FANTASTIC VENT WITH COVER IN COMMODE ROOM
5
AQUAHOT HEATER
GRANITE FLOORING
GRANITE COUNTERTOPS
SHAMPOO AND SOAP HOLDER
LOWER VANITY CABINET WITH FLUSH DOORS AND DRAWERS
HEADHUNTER ELONGATED COMMODE WITH HOMETECH BIDET
CUSTOM CURVED SHOWER
MEDICINE CABINET
GALLEY
GE SIDE BY SIDE FULL SIZED REFRIGERATOR WITH 23.3 CUBIC FEET OF STORAGE
BREW EXPRESS COFFEE MAKER (RECESSED AND HARD PLUMBED)
TWO BURNER COOK TOP
STACKED BOSCH WASHER AND DRYER UNITS
MARINE-GRADE POWER PANEL
SHARP INSIGHT PRO MICROWAVE DRAWER
AQUAHOT HEATERS CENTRAL VACUUM
GRANITE STARBURST MEDALLION INLAY IN PORCELAIN FLOOR
LOUNGE BAR WITH ELECTRIC LIFT COMPUTER/TV/CRESTRON TOUCH SCREEN,
WIRELESS KEYBOARD/MOUSE
SMOKE DETECTOR
AUTOMATIC INTERIOR LED CABINET LIGHTS
GRANITE FLOORING WITH ELECTRIC FLOOR HEAT
FRANKE BEECH SINK SYSTEM WITH ACCESSORIES
SINGLE HANDLE FAUCET WITH BUILT-IN SPRAYER
UNDER COUNTER PULL OUT TRASH CONTAINER
FULL SIZED PANTRY
LIGHTWEIGHT CABINET CONSTRUCTION WITH WOOD VENEER AND POLYESTER FINISH
FISCHER PAYKEL DISH DRAWER
EXTENDABLE ISLAND
FRONT LOUNGE
PRE-WIRE FOR FAX IN THE C/S LOWER CABINET (120-VOLT OUTLET, CELLULAR, AND LANDLINE TELEPHONE
JACKS
FIBERGLASS WINDOW SILLS
MOTORIZED HUNTER DOUGLAS CELL SHADES
6
SOFA (ELECTRIC FRAME) ON DRIVER’S SIDE WITH STORAGE BELOW
42” DROP DOWN LCD
PILOT AND CO-PILOT SEATING AREA
TIRE PRESSURE MONITORING SYSTEM
110 VAC AND 12 VDC OUTLETS
KENWOOD/GARMIN AM/FM/DVD/GPS/MP3
MAPPING SYSTEM
15” ADJUSTABLE MONITOR AT PASSENGER SEAT
COLOR LCD BACKUP MONITOR WITH I-CONTROL FUNCTION
CB RADIO
MAP LIGHTS FOR CO-PILOT AND DRIVER
MASTER CONTROL SWITCHES
ELECTRIC PRIVACY SHADES
MAP STORAGE AND DRINK HOLDER
CARPETING BELOW THE DRIVER’S SEAT
ISRINGHAUSEN AIR RIDE DRIVER’S SEAT
CUSTOM WOOD DASH PANELS
CUSTOM ENTRY DOOR DESIGN
SLIDE STEPWELL COVER
OPEN SHOE STORAGE IN STEPWELL
CUSTOM SMART STEERING WHEEL
VILLA 28” WIDE CO-PILOT SEAT WITH THE FOLLOWING OPTIONS: RECLINE, FOOTREST, ELECTRIC SIX WAY
POWER BASE, MASSAGE, HEATING, MAP STORAGE AND DRINK HOLDER
EXTERIOR GENERAL EQUIPMENT
UPPER AND LOWER LUMINESCENT BLUE ROPE LIGHTING
CB ANTENNA
CELLULAR PHONE ANTENNA
AM/FM ANTENNA
GPS ANTENNA
GLOMEX SAUCER-TYPE AMPLIFIED TV ANTENNA
INMOTION TRACSTAR SATELLITE DISH WITH (2) DVR RECEIVERS
COLOR DIRECTIONAL BACKUP CAMERA ON REAR OF COACH
7
AIPHONE DOORBELL / CAMERA NEXT TO ENTRANCE DOOR
4 FULL LENGTH ROOF MOUNTED AWNINGS WITH WIND MOTION SENSORS
(6) LED CURB LIGHTS
4 HIGH POWERED AIR HORNS IN NOSE FOR WIND NOISE REDUCTION
HWH ONE-TOUCH LEVELING SYSTEM
GENERATOR ROOF EXHAUST
CUSTOM PAINTED REAR WINDOW GRAPHICS
AQUAHOT ROOF EXHAUST
SIDE MARKER LIGHT TRIM
CHROME PLATED HEATED SIDE MIRRORS
LICENSE PLATE HOUSING-POLISHED S/S
MICROWAVE VENT
LED LIGHTS ON TOP AND BOTTOM OF COACH
BAY COMPARTMENTS
1ST BAY 101.75 CUBIC FEET OF STORAGE (CURBSIDE OR ROADSIDE)
(8) 8D MARINE DEEP CYCLE BATTERIES
(4) 3500 WATT OUTBACK INVERTERS
100 AMP VANNER BATTERY EQUALIZER
BATTERY TIE-IN RELAY (CONNECTING HOUSE BATTERIES TO CHASSIS BATTERIES AND CHASSIS BATTERIES
TO HOUSE BATTERIES)
(4) BATTERY DISCONNECT SWITCHES
GLENDINNING ELECTRIC REEL FOR SHORELINE CORD (WITH WIRELESS REMOTE)
SHORELINE CORD (60’)
ADAPTORS FOR SHORELINE FOR 30A AND 20A SERVICE
SHORELINE REVERSE POLARITY MONITOR
TELEPHONE AND CABLE TV CONNECTORS NEAR SHORELINE REEL
COAX CORD
AUXILIARY AIR COMPRESSOR WITH TWO SERVICE AIR CONNECTIONS (D/S AND C/S)
COSMETIC PANELS TO COVER ELECTRICAL EQUIPMENT
120 VOLT GFCI RECEPTACLE IN THE PLUMBING COMPARTMENT
330 AMP AIR COOLED ALTERNATOR FOR HOUSE SYSTEM
140 AMP AIR COOLED ALTERNATOR FOR CHASSIS SYSTEM
8
HVAC
AQUAHOT HEATER WITH THERMOSTATS IN PLUMBING COMPARTMENT
(4) ROOFTOP A/C UNITS LOW PROFILE (15,000 BTU’S EACH)
120 VAC CERAMIC HEATER IN FIRST, SECOND AND PLUMBING BAYS
ELECTRIC FLOOR HEAT
GENERATOR
POWERTECH ULTIMATE 17.5 KW TURBO GENERATOR
GENERATOR AUTO-START FEATURE (CONTROLLED BY LUTRON AND CRESTRON SYSTEMS)
GENERATOR BATTERY BOOST CIRCUITRY
GENERATOR PRIMARY FUEL FILTER
START/STOP SWITCHES AT THE FOLLOWING LOCATIONS:
* GENERATOR
* DRIVER’S AREA POWER PANEL
* INVERTER PANEL
* CRESTRON TOUCHSCREENS
* ANY REMOTE ACCESS COMPUTER
ROOF MOUNTED GENERATOR EXHAUST
ROOF MOUNTED COOLING SYSTEM FOR GENERATOR
FOUR INVERTER BYPASS SWITCHES
PLUMBING
AQUAHOT WATER HEATING SYSTEM WITH (2) 1500 WATT ELECTRIC HEATING ELEMENTS
HEADHUNTER 120 VOLT WATER PUMP
WATER PRESSURE REGULATOR
CARTRIDGE WATER FILTER SYSTEM
2 HOSE CARRIERS FOR DUMPING HOLDING TANKS
PAPER TOWEL AND SOAP DISPENSER
PLASTIC PLUMBING WITH FLEXIBLE LINES FOR VIBRATION ISOLATION
MANIFOLD SYSTEM WITH SHUT OFF VALVES TO ALL PLUMBING EQUIPMENT. (NO SHUTOFFS INSIDE THE
COACH INTERIOR; CONTINUOUS LINES RUN FROM THE MANIFOLD TO THE FIXTURE)
STAINLESS STEEL COVER
POLYPROPYLENE FRESH WATER TANK WITH CLEAN OUT (180 GALLONS)
POLYPROPYLENE GREY WATER TANK WITH CLEAN OUT (80 GALLONS)
9
POLYPROPYLENE BLACK WATER TANK WITH CLEAN OUT (80 GALLONS)
ELECTRIC OPERATED DUMP VALVES
TANK LEVEL MONITOR GAUGES AT ALL CRESTRON PANELS
CITY WATER INLET WITH MILLENNIUM AUTOMATIC FRESH WATER FILL SYSTEM
GRAVITY FILL FOR FRESH WATER TANK
MANUAL TANK CLEAN OUT VALVES FOR GREY AND BLACK TANK
HOSE BIB
STAINLESS STEEL COSMETIC PANELS TO COVER PLUMBING EQUIPMENT
BUILT IN PRESSURE WASHER WITH 75’ LINE ON REEL (1450 PSI)
BUILT IN DEIONIZER WITH BYPASS FOR SPOT FREE RINSE MODE
MACERATOR WITH ELECTRIC HOSE REEL
ABS PLASTIC UNDER THE PLUMBING EQUIPMENT
BAY ENTERTAINMENT CENTER
ENTERTAINMENT CABINET WITH STORAGE DRAWERS
REFRIGERATOR
BOSE WAVE AM/FM/CD/MP3 STEREO
42” LCD FLAT SCREEN MONITOR ON PULLOUT ADJUSTABLE SLIDE SYSTEM
(4) ZIP DEE LAWN CHAIRS
KENYON CUSTOM SMOKELESS INFRA RED GRILL
2010 Millennium XLII, #9399
Sildes: 2 - Rear Super Slide (Prevost)
MILLENNIUM UNIT #9399
2010 XLII S2 REAR SUPERSLIDE
CHASSIS SPECS
GENERAL
LENGTH, OVERALL 45.0 FT.
WHEELBASE 314.0 IN.
WIDTH, OVERALL 102.0 IN.
HEIGHT, OVERALL 140.0 IN.
FLOOR-TO-CEILING HEIGHT 86.0 IN
CABIN FLOOR HEIGHT (FROM THE GROUND) 48.5 IN.
USABLE CABIN FLAT FLOOR LENGTH
(NO WHEEL HUMPS) 34.75 FT.
UNDER-FLOOR STORAGE (WITH DRIVER A/C) 407 CU.FT.
UNDER-FLOOR COMPARTMENTS DOORS WIDTH 60.5 IN.
ENTRANCE DOOR WIDTH 30.0 IN.
STEP HEIGHT 15.0 IN.
GROUND CLEARANCE 11.0 IN.
OVERHANG (INCL. BUMPER) — FRONT 68.75 IN.
OVERHANG (INCL. BUMPER) — REAR 107.75 IN.
TURNING RADIUS 41.8 FT.
BODY CONSTRUCTION (STRUCTURE) INTEGRAL
BODY CONSTRUCTION (STAINLESS / RUST PROTECTED MILD STEEL)
(OUTER SHELL – UP TO WINDOW LEVEL) STAINLESS STEEL
BODY CONSTRUCTION (SUB-FRAME) LOW-ALLOY/HIGH TENSILE STEEL
FUEL TANK (US GALS.) 208
FUEL FILLER NECKS ON BOTH SIDES
GROSS VEHICLE WEIGHT RATING (LBS.) 54,500
AXLE DESIGN LOAD CAPACITY (LBS.) – FRONT 18,000
AXLE DESIGN LOAD CAPACITY (LBS.) – DRIVE 22,500
AXLE DESIGN LOAD CAPACITY (LBS.) – TAG 14,000
WET WEIGHT - WITH DRIVER A/C (LBS.) 31,150
WET WEIGHT - WITH FULL A/C (LBS.) 31,850
DRIVER-ONLY A/C
2
TIRES AND WHEELS
MICHELIN 315/80R22.5 (DRIVE)
MICHELIN 365/70R22.5 (FRONT & TAG)
ALCOA ALUMINUM RIMS
22.5 X 10.5 IN. (FRONT & TAG AXLES)
22.5 X 9 IN. (DRIVE AXLE)
POWERTRAIN
DETROIT DIESEL SERIES 60 W/EGR 14L-515HP (5-YR. WARRANTY)
3-SPEED ENGINE COOLING FAN
ALLISON WORLD B500, 6-SPEED AUTO. TRANS. (5-YR. WARRANTY)
CRUISE CONTROL
ALLISON HYDRAULIC TRANSMISSION RETARDER
PNEUMATIC DRIVE BELTS TENSIONERS
TURBO BOOST GAUGE
ENGINE COOLANT FILTER
RACOR FUEL FILTER
BRAKES
ALL-DISC BRAKES WITH ABS
FRONT WHEELS BRAKE BOOSTERS TYPE 27
DRIVE WHEELS BRAKE BOOSTERS TYPE 24-24
TAG WHEELS BRAKE BOOSTERS TYPE 14-16
PARKING BRAKE BOOSTER ON TAG WHEELS
STEERING AND SUSPENSION
PNEUMATIC TILT & TELESCOPIC STEERING WHEEL
ZF SERVOCOMTRONIC VARIABLE POWER STEERING
INDEPENDENT SUSPENSION SYSTEM
STEERING SLAVE CYLINDER
FRONT & DRIVE AXLES SWAY BARS
INTEGRATED PNEUMATIC LEVEL-LOW LEVELING SYSTEM
LIFTABLE TAG AXLE
3
ELECTRICAL SYSTEM
FULLY MULTIPLEXED ELECTRICAL SYSTEM
12-VOLT EXT. LIGHTING
24-VOLT MAIN SYSTEM
SHELL ALTERNATOR (DRIVER A/C) 140 AMPS
FACTORY-INSTALLED OPTIONAL EQUIPMENT
FACTORY SLIDE-OUTS (ALL-ELECTRICAL) 2 SLIDES W/ REAR SUPERSLIDE
ROADSIDE FRONT
ROADSIDE REAR (SUPERSLIDE)
KIDDE DUAL SPECTRUM FIRE PROTECTION SYSTEM
HIGH-INTENSITY HEADLIGHTS
FOG LIGHTS
RAMCO REMOTE HEATED REARVIEW MIRRORS
CENTRAL ELECTRICAL DOOR LOCKING SYSTEM
REMOTE KEYLESS LOCKING (ENTRANCE DOOR)
REMOTE KEYLESS LOCKING (COMPARTMENT DOORS)
TRAILER HITCH PACKAGE (20,000 LBS.)
LOW FUEL WARNING LIGHT
COURTESY LIGHTS BLINKER SWITCH
ENGINE AND COMPARTMENTS LIGHTING
ISRI AIR ADJUSTABLE (6800)
FACTORY EXTERIOR PAINT W/SPECIAL EFFECT
BACK-UP SOUND ALARM
HEADLAMPS CLEANING
GENERAL
XENON HEADLAMPS
AIR POCKET DOORS WITH ROD LESS CYLINDERS
FLEXFOIL INSULATION ON INTERIOR OF SHELL
MARINE GRADE ELECTRICAL WIRE
LUTRON HOMEWORKS ILLUMINATION CONTROL SYSTEM WITH REMOTE DIAGNOSTICS OPTION
5 CRESTRON TOUCH SCREEN CONTROLLERS LINKED TO LUTRON HOMEWORKS OPERATING SYSTEM WITH IPHONE
/ I-TOUCH AND LAPTOP CONTROLS
FULLTIME INTERNET WI-FI NETWORK CONNECTION
4
RUSSOUND CAV6.6 SIX-ZONE
A/V PROCESSOR
DVD/VCR RECORDERS WITH DIGITAL TUNERS
(2) SATELLITE DVR RECEIVERS
(1) ESCIENT MEDIA SERVER WITH 500GB STORAGE
CEILING LED ROPE LIGHTING THROUGHOUT
MARINE GRADE BRASS LED OVERHEAD LIGHTS
MULTI-ZONE AQUA HOT HEATING SYSTEM WITH DUAL 1500 WATT ELECTRIC ELEMENTS
INTERIOR AND EXTERIOR LED LIGHTING
MOTORIZED HUNTER DOUGLAS CELL SHADES
FRONT AND REAR CUSTOM SPOILERS
STATEROOM
MAIN VANITY
32” FLAT SCREEN LCD MONITOR
AIPHONE INTERCOM WITH BUILT IN MONITOR TO VIEW ENTRY DOOR
MASTER LIGHTING SWITCH ON THE REAR NIGHTSTAND AND FRONT
ELECTRIC BLACK-OUT SHADES
PRE-WIRE FOR CEILING FAN
CARBON MONOXIDE DETECTOR
SMOKE DETECTOR
SPECIAL LIGHTWEIGHT SOUND INSULATION PACKAGE
FABRICA CARPETING WITH HIGH DENSITY PADDING
TEMPER-PEDIC KING SIZED ADJUSTABLE BED
LEFT AND RIGHT END TABLES AT HEAD OF THE BED
DRAWER BENEATH THE FOOT OF THE BED
MIRRORED CEILING
CUSTOM BEDDING
CARPET LINED WARDROBE CABINETS WITH CEDAR CEILINGS
LAVATORY
120-VOLT VANITY LIGHTING
120-VOLT OUTLET IN BOTTOM AND INSIDE UPPER VANITY CABINET
FANTASTIC VENT OVER SHOWER AREA WITH COVER
FANTASTIC VENT WITH COVER IN COMMODE ROOM
5
AQUAHOT HEATER
GRANITE FLOORING
GRANITE COUNTERTOPS
SHAMPOO AND SOAP HOLDER
LOWER VANITY CABINET WITH FLUSH DOORS AND DRAWERS
HEADHUNTER ELONGATED COMMODE WITH HOMETECH BIDET
CUSTOM CURVED SHOWER
MEDICINE CABINET
GALLEY
GE SIDE BY SIDE FULL SIZED REFRIGERATOR WITH 23.3 CUBIC FEET OF STORAGE
BREW EXPRESS COFFEE MAKER (RECESSED AND HARD PLUMBED)
TWO BURNER COOK TOP
STACKED BOSCH WASHER AND DRYER UNITS
MARINE-GRADE POWER PANEL
SHARP INSIGHT PRO MICROWAVE DRAWER
AQUAHOT HEATERS CENTRAL VACUUM
GRANITE STARBURST MEDALLION INLAY IN PORCELAIN FLOOR
LOUNGE BAR WITH ELECTRIC LIFT COMPUTER/TV/CRESTRON TOUCH SCREEN,
WIRELESS KEYBOARD/MOUSE
SMOKE DETECTOR
AUTOMATIC INTERIOR LED CABINET LIGHTS
GRANITE FLOORING WITH ELECTRIC FLOOR HEAT
FRANKE BEECH SINK SYSTEM WITH ACCESSORIES
SINGLE HANDLE FAUCET WITH BUILT-IN SPRAYER
UNDER COUNTER PULL OUT TRASH CONTAINER
FULL SIZED PANTRY
LIGHTWEIGHT CABINET CONSTRUCTION WITH WOOD VENEER AND POLYESTER FINISH
FISCHER PAYKEL DISH DRAWER
EXTENDABLE ISLAND
FRONT LOUNGE
PRE-WIRE FOR FAX IN THE C/S LOWER CABINET (120-VOLT OUTLET, CELLULAR, AND LANDLINE TELEPHONE
JACKS
FIBERGLASS WINDOW SILLS
MOTORIZED HUNTER DOUGLAS CELL SHADES
6
SOFA (ELECTRIC FRAME) ON DRIVER’S SIDE WITH STORAGE BELOW
42” DROP DOWN LCD
PILOT AND CO-PILOT SEATING AREA
TIRE PRESSURE MONITORING SYSTEM
110 VAC AND 12 VDC OUTLETS
KENWOOD/GARMIN AM/FM/DVD/GPS/MP3
MAPPING SYSTEM
15” ADJUSTABLE MONITOR AT PASSENGER SEAT
COLOR LCD BACKUP MONITOR WITH I-CONTROL FUNCTION
CB RADIO
MAP LIGHTS FOR CO-PILOT AND DRIVER
MASTER CONTROL SWITCHES
ELECTRIC PRIVACY SHADES
MAP STORAGE AND DRINK HOLDER
CARPETING BELOW THE DRIVER’S SEAT
ISRINGHAUSEN AIR RIDE DRIVER’S SEAT
CUSTOM WOOD DASH PANELS
CUSTOM ENTRY DOOR DESIGN
SLIDE STEPWELL COVER
OPEN SHOE STORAGE IN STEPWELL
CUSTOM SMART STEERING WHEEL
VILLA 28” WIDE CO-PILOT SEAT WITH THE FOLLOWING OPTIONS: RECLINE, FOOTREST, ELECTRIC SIX WAY
POWER BASE, MASSAGE, HEATING, MAP STORAGE AND DRINK HOLDER
EXTERIOR GENERAL EQUIPMENT
UPPER AND LOWER LUMINESCENT BLUE ROPE LIGHTING
CB ANTENNA
CELLULAR PHONE ANTENNA
AM/FM ANTENNA
GPS ANTENNA
GLOMEX SAUCER-TYPE AMPLIFIED TV ANTENNA
INMOTION TRACSTAR SATELLITE DISH WITH (2) DVR RECEIVERS
COLOR DIRECTIONAL BACKUP CAMERA ON REAR OF COACH
7
AIPHONE DOORBELL / CAMERA NEXT TO ENTRANCE DOOR
4 FULL LENGTH ROOF MOUNTED AWNINGS WITH WIND MOTION SENSORS
(6) LED CURB LIGHTS
4 HIGH POWERED AIR HORNS IN NOSE FOR WIND NOISE REDUCTION
HWH ONE-TOUCH LEVELING SYSTEM
GENERATOR ROOF EXHAUST
CUSTOM PAINTED REAR WINDOW GRAPHICS
AQUAHOT ROOF EXHAUST
SIDE MARKER LIGHT TRIM
CHROME PLATED HEATED SIDE MIRRORS
LICENSE PLATE HOUSING-POLISHED S/S
MICROWAVE VENT
LED LIGHTS ON TOP AND BOTTOM OF COACH
BAY COMPARTMENTS
1ST BAY 101.75 CUBIC FEET OF STORAGE (CURBSIDE OR ROADSIDE)
(8) 8D MARINE DEEP CYCLE BATTERIES
(4) 3500 WATT OUTBACK INVERTERS
100 AMP VANNER BATTERY EQUALIZER
BATTERY TIE-IN RELAY (CONNECTING HOUSE BATTERIES TO CHASSIS BATTERIES AND CHASSIS BATTERIES
TO HOUSE BATTERIES)
(4) BATTERY DISCONNECT SWITCHES
GLENDINNING ELECTRIC REEL FOR SHORELINE CORD (WITH WIRELESS REMOTE)
SHORELINE CORD (60’)
ADAPTORS FOR SHORELINE FOR 30A AND 20A SERVICE
SHORELINE REVERSE POLARITY MONITOR
TELEPHONE AND CABLE TV CONNECTORS NEAR SHORELINE REEL
COAX CORD
AUXILIARY AIR COMPRESSOR WITH TWO SERVICE AIR CONNECTIONS (D/S AND C/S)
COSMETIC PANELS TO COVER ELECTRICAL EQUIPMENT
120 VOLT GFCI RECEPTACLE IN THE PLUMBING COMPARTMENT
330 AMP AIR COOLED ALTERNATOR FOR HOUSE SYSTEM
140 AMP AIR COOLED ALTERNATOR FOR CHASSIS SYSTEM
8
HVAC
AQUAHOT HEATER WITH THERMOSTATS IN PLUMBING COMPARTMENT
(4) ROOFTOP A/C UNITS LOW PROFILE (15,000 BTU’S EACH)
120 VAC CERAMIC HEATER IN FIRST, SECOND AND PLUMBING BAYS
ELECTRIC FLOOR HEAT
GENERATOR
POWERTECH ULTIMATE 17.5 KW TURBO GENERATOR
GENERATOR AUTO-START FEATURE (CONTROLLED BY LUTRON AND CRESTRON SYSTEMS)
GENERATOR BATTERY BOOST CIRCUITRY
GENERATOR PRIMARY FUEL FILTER
START/STOP SWITCHES AT THE FOLLOWING LOCATIONS:
* GENERATOR
* DRIVER’S AREA POWER PANEL
* INVERTER PANEL
* CRESTRON TOUCHSCREENS
* ANY REMOTE ACCESS COMPUTER
ROOF MOUNTED GENERATOR EXHAUST
ROOF MOUNTED COOLING SYSTEM FOR GENERATOR
FOUR INVERTER BYPASS SWITCHES
PLUMBING
AQUAHOT WATER HEATING SYSTEM WITH (2) 1500 WATT ELECTRIC HEATING ELEMENTS
HEADHUNTER 120 VOLT WATER PUMP
WATER PRESSURE REGULATOR
CARTRIDGE WATER FILTER SYSTEM
2 HOSE CARRIERS FOR DUMPING HOLDING TANKS
PAPER TOWEL AND SOAP DISPENSER
PLASTIC PLUMBING WITH FLEXIBLE LINES FOR VIBRATION ISOLATION
MANIFOLD SYSTEM WITH SHUT OFF VALVES TO ALL PLUMBING EQUIPMENT. (NO SHUTOFFS INSIDE THE
COACH INTERIOR; CONTINUOUS LINES RUN FROM THE MANIFOLD TO THE FIXTURE)
STAINLESS STEEL COVER
POLYPROPYLENE FRESH WATER TANK WITH CLEAN OUT (180 GALLONS)
POLYPROPYLENE GREY WATER TANK WITH CLEAN OUT (80 GALLONS)
9
POLYPROPYLENE BLACK WATER TANK WITH CLEAN OUT (80 GALLONS)
ELECTRIC OPERATED DUMP VALVES
TANK LEVEL MONITOR GAUGES AT ALL CRESTRON PANELS
CITY WATER INLET WITH MILLENNIUM AUTOMATIC FRESH WATER FILL SYSTEM
GRAVITY FILL FOR FRESH WATER TANK
MANUAL TANK CLEAN OUT VALVES FOR GREY AND BLACK TANK
HOSE BIB
STAINLESS STEEL COSMETIC PANELS TO COVER PLUMBING EQUIPMENT
BUILT IN PRESSURE WASHER WITH 75’ LINE ON REEL (1450 PSI)
BUILT IN DEIONIZER WITH BYPASS FOR SPOT FREE RINSE MODE
MACERATOR WITH ELECTRIC HOSE REEL
ABS PLASTIC UNDER THE PLUMBING EQUIPMENT
BAY ENTERTAINMENT CENTER
ENTERTAINMENT CABINET WITH STORAGE DRAWERS
REFRIGERATOR
BOSE WAVE AM/FM/CD/MP3 STEREO
42” LCD FLAT SCREEN MONITOR ON PULLOUT ADJUSTABLE SLIDE SYSTEM
(4) ZIP DEE LAWN CHAIRS
KENYON CUSTOM SMOKELESS INFRA RED GRILL
MILLENNIUM UNIT #9597
2011 XLII S2
CHASSIS SPECS
GENERAL
LENGTH, OVERALL 45.0 FT.
WHEELBASE 314.0 IN.
WIDTH, OVERALL 102.0 IN.
HEIGHT, OVERALL 140.0 IN.
FLOOR-TO-CEILING HEIGHT 86.0 IN
CABIN FLOOR HEIGHT (FROM THE GROUND) 48.5 IN.
USABLE CABIN FLAT FLOOR LENGTH
(NO WHEEL HUMPS) 34.75 FT.
UNDER-FLOOR STORAGE (WITH DRIVER A/C) 407 CU.FT.
UNDER-FLOOR COMPARTMENTS DOORS WIDTH 60.5 IN.
ENTRANCE DOOR WIDTH 30.0 IN.
STEP HEIGHT 15.0 IN.
GROUND CLEARANCE 11.0 IN.
OVERHANG (INCL. BUMPER) — FRONT 68.75 IN.
OVERHANG (INCL. BUMPER) — REAR 107.75 IN.
TURNING RADIUS 41.8 FT.
BODY CONSTRUCTION (STRUCTURE) INTEGRAL
BODY CONSTRUCTION (STAINLESS / RUST PROTECTED MILD STEEL)
(OUTER SHELL – UP TO WINDOW LEVEL) STAINLESS STEEL
BODY CONSTRUCTION (SUB-FRAME) LOW-ALLOY/HIGH TENSILE STEEL
FUEL TANK (US GALS.) 208
FUEL FILLER NECKS ON BOTH SIDES
GROSS VEHICLE WEIGHT RATING (LBS.) 54,500
AXLE DESIGN LOAD CAPACITY (LBS.) – FRONT 18,000
AXLE DESIGN LOAD CAPACITY (LBS.) – DRIVE 22,500
AXLE DESIGN LOAD CAPACITY (LBS.) – TAG 14,000
2
WET WEIGHT - WITH DRIVER A/C (LBS.) 31,150
WET WEIGHT - WITH FULL A/C (LBS.) 31,850
DRIVER-ONLY A/C
TIRES AND WHEELS
MICHELIN 315/80R22.5 (DRIVE)
MICHELIN 365/70R22.5 (FRONT & TAG)
ALCOA ALUMINUM RIMS
22.5 X 10.5 IN. (FRONT & TAG AXLES)
22.5 X 9 IN. (DRIVE AXLE)
POWERTRAIN
DETROIT DIESEL SERIES 60 W/EGR 14L-515HP (5-YR. WARRANTY)
3-SPEED ENGINE COOLING FAN
ALLISON WORLD B500, 6-SPEED AUTO. TRANS. (5-YR. WARRANTY)
CRUISE CONTROL
ALLISON HYDRAULIC TRANSMISSION RETARDER
PNEUMATIC DRIVE BELTS TENSIONERS
TURBO BOOST GAUGE
ENGINE COOLANT FILTER
RACOR FUEL FILTER
BRAKES
ALL-DISC BRAKES WITH ABS
FRONT WHEELS BRAKE BOOSTERS TYPE 27
DRIVE WHEELS BRAKE BOOSTERS TYPE 24-24
TAG WHEELS BRAKE BOOSTERS TYPE 14-16
PARKING BRAKE BOOSTER ON TAG WHEELS
STEERING AND SUSPENSION
PNEUMATIC TILT & TELESCOPIC STEERING WHEEL
ZF SERVOCOMTRONIC VARIABLE POWER STEERING
3
INDEPENDENT SUSPENSION SYSTEM
STEERING SLAVE CYLINDER
FRONT & DRIVE AXLES SWAY BARS
INTEGRATED PNEUMATIC LEVEL-LOW LEVELING SYSTEM
LIFTABLE TAG AXLE
ELECTRICAL SYSTEM
FULLY MULTIPLEXED ELECTRICAL SYSTEM
12-VOLT EXT. LIGHTING
24-VOLT MAIN SYSTEM
SHELL ALTERNATOR (DRIVER A/C) 140 AMPS
FACTORY-INSTALLED OPTIONAL EQUIPMENT
FACTORY SLIDE-OUTS (ALL-ELECTRICAL) 2 SLIDES
KIDDE DUAL SPECTRUM FIRE PROTECTION SYSTEM
HIGH-INTENSITY HEADLIGHTS
FOG LIGHTS
RAMCO REMOTE HEATED REARVIEW MIRRORS
CENTRAL ELECTRICAL DOOR LOCKING SYSTEM
REMOTE KEYLESS LOCKING (ENTRANCE DOOR)
REMOTE KEYLESS LOCKING (COMPARTMENT DOORS)
TRAILER HITCH PACKAGE (20,000 LBS.)
LOW FUEL WARNING LIGHT
COURTESY LIGHTS BLINKER SWITCH
ENGINE AND COMPARTMENTS LIGHTING
ISRI AIR ADJUSTABLE (6800)
FACTORY EXTERIOR PAINT W/SPECIAL EFFECT
BACK-UP SOUND ALARM
HEADLAMPS CLEANING
GENERAL
XENON HEADLAMPS
AIR POCKET DOORS WITH ROD LESS CYLINDERS
FLEXFOIL INSULATION ON INTERIOR OF SHELL
4
MARINE GRADE ELECTRICAL WIRE
LUTRON HOMEWORKS ILLUMINATION CONTROL SYSTEM WITH REMOTE DIAGNOSTICS OPTION
5 CRESTRON TOUCH SCREEN CONTROLLERS LINKED TO LUTRON HOMEWORKS OPERATING SYSTEM WITH IPHONE
/ I-TOUCH AND LAPTOP CONTROLS
FULLTIME INTERNET WI-FI NETWORK CONNECTION
RUSSOUND CAV6.6 SIX-ZONE
A/V PROCESSOR
DVD/VCR RECORDERS WITH DIGITAL TUNERS
(2) SATELLITE DVR RECEIVERS
CEILING LED ROPE LIGHTING THROUGHOUT
MARINE GRADE BRASS LED OVERHEAD LIGHTS
MULTI-ZONE AQUA HOT HEATING SYSTEM WITH DUAL 1500 WATT ELECTRIC ELEMENTS
INTERIOR AND EXTERIOR LED LIGHTING
MOTORIZED HUNTER DOUGLAS CELL SHADES
FRONT AND REAR CUSTOM SPOILERS
STATEROOM
MAIN VANITY
32” FLAT SCREEN LED MONITOR
AIPHONE INTERCOM WITH BUILT IN MONITOR TO VIEW ENTRY DOOR
MASTER LIGHTING SWITCH ON THE REAR NIGHTSTAND AND FRONT
ELECTRIC BLACK-OUT SHADES
PRE-WIRE FOR CEILING FAN
CARBON MONOXIDE DETECTOR
SMOKE DETECTOR
SPECIAL LIGHTWEIGHT SOUND INSULATION PACKAGE
FABRICA CARPETING WITH HIGH DENSITY PADDING
TEMPER-PEDIC KING SIZED ADJUSTABLE BED
LEFT AND RIGHT END TABLES AT HEAD OF THE BED
DRAWER BENEATH THE FOOT OF THE BED
MIRRORED CEILING
CUSTOM BEDDING
5
CARPET LINED WARDROBE CABINETS WITH CEDAR CEILINGS
LAVATORY
120-VOLT VANITY LIGHTING
120-VOLT OUTLET IN BOTTOM AND INSIDE UPPER VANITY CABINET
FANTASTIC VENT OVER SHOWER AREA WITH COVER
FANTASTIC VENT WITH COVER IN COMMODE ROOM
AQUAHOT HEATER
GRANITE FLOORING
GRANITE COUNTERTOPS
SHAMPOO AND SOAP HOLDER
LOWER VANITY CABINET WITH FLUSH DOORS AND DRAWERS
HEADHUNTER ELONGATED COMMODE WITH HOMETECH BIDET
CUSTOM CURVED SHOWER
MEDICINE CABINET
GALLEY
GE SIDE BY SIDE FULL SIZED REFRIGERATOR WITH 23.3 CUBIC FEET OF STORAGE
BREW EXPRESS COFFEE MAKER (RECESSED AND HARD PLUMBED)
TWO BURNER COOK TOP
STACKED BOSCH WASHER AND DRYER UNITS
MARINE-GRADE POWER PANEL
SHARP INSIGHT PRO MICROWAVE DRAWER
AQUAHOT HEATERS CENTRAL VACUUM
LOUNGE BAR WITH ELECTRIC LIFT COMPUTER/TV/CRESTRON TOUCH SCREEN,
WIRELESS KEYBOARD/MOUSE
SMOKE DETECTOR
AUTOMATIC INTERIOR LED CABINET LIGHTS
GRANITE FLOORING WITH ELECTRIC FLOOR HEAT
FRANKE BEECH SINK SYSTEM WITH ACCESSORIES
SINGLE HANDLE FAUCET WITH BUILT-IN SPRAYER
UNDER COUNTER PULL OUT TRASH CONTAINER
FULL SIZED PANTRY
LIGHTWEIGHT CABINET CONSTRUCTION WITH WOOD VENEER AND POLYESTER FINISH
6
FISCHER PAYKEL DISH DRAWER
EXTENDABLE ISLAND
FRONT LOUNGE
PRE-WIRE FOR FAX IN THE C/S LOWER CABINET (120-VOLT OUTLET, CELLULAR, AND LANDLINE TELEPHONE
JACKS
FIBERGLASS WINDOW SILLS
MOTORIZED HUNTER DOUGLAS CELL SHADES
SOFA (ELECTRIC FRAME) ON DRIVER’S SIDE WITH STORAGE BELOW
42” DROP DOWN LED
PILOT AND CO-PILOT SEATING AREA
110 VAC AND 12 VDC OUTLETS
KENWOOD/GARMIN AM/FM/DVD/GPS/MP3
MAPPING SYSTEM
15” ADJUSTABLE MONITOR AT PASSENGER SEAT
COLOR LCD BACKUP MONITOR WITH I-CONTROL FUNCTION
CB RADIO
MAP LIGHTS FOR CO-PILOT AND DRIVER
MASTER CONTROL SWITCHES
ELECTRIC PRIVACY SHADES
MAP STORAGE AND DRINK HOLDER
CARPETING BELOW THE DRIVER’S SEAT
ISRINGHAUSEN AIR RIDE DRIVER’S SEAT
CUSTOM WOOD DASH PANELS
CUSTOM ENTRY DOOR DESIGN
SLIDE STEPWELL COVER
OPEN SHOE STORAGE IN STEPWELL
CUSTOM SMART STEERING WHEEL
VILLA 28” WIDE CO-PILOT SEAT WITH THE FOLLOWING OPTIONS: RECLINE, FOOTREST, ELECTRIC SIX WAY
POWER BASE, MASSAGE, HEATING, MAP STORAGE AND DRINK HOLDER
7
EXTERIOR GENERAL EQUIPMENT
UPPER AND LOWER LUMINESCENT BLUE ROPE LIGHTING
CB ANTENNA
CELLULAR PHONE ANTENNA
AM/FM ANTENNA
GPS ANTENNA
GLOMEX SAUCER-TYPE AMPLIFIED TV ANTENNA
INMOTION TRACSTAR SATELLITE DISH WITH (2) DVR RECEIVERS
COLOR DIRECTIONAL BACKUP CAMERA ON REAR OF COACH
AIPHONE DOORBELL / CAMERA NEXT TO ENTRANCE DOOR
4 FULL LENGTH ROOF MOUNTED AWNINGS WITH WIND MOTION SENSORS
(6) LED CURB LIGHTS
4 HIGH POWERED AIR HORNS IN NOSE FOR WIND NOISE REDUCTION
HWH ONE-TOUCH LEVELING SYSTEM
GENERATOR ROOF EXHAUST
CUSTOM PAINTED REAR WINDOW GRAPHICS
AQUAHOT ROOF EXHAUST
SIDE MARKER LIGHT TRIM
CHROME PLATED HEATED SIDE MIRRORS
LICENSE PLATE HOUSING-POLISHED S/S
MICROWAVE VENT
LED LIGHTS ON TOP AND BOTTOM OF COACH
BAY COMPARTMENTS
1ST BAY 101.75 CUBIC FEET OF STORAGE (CURBSIDE OR ROADSIDE)
(8) 8D MARINE DEEP CYCLE BATTERIES
(4) 3500 WATT OUTBACK INVERTERS
100 AMP VANNER BATTERY EQUALIZER
BATTERY TIE-IN RELAY (CONNECTING HOUSE BATTERIES TO CHASSIS BATTERIES AND CHASSIS BATTERIES TO
HOUSE BATTERIES)
8
(4) BATTERY DISCONNECT SWITCHES
GLENDINNING ELECTRIC REEL FOR SHORELINE CORD (WITH WIRELESS REMOTE)
SHORELINE CORD (60’)
ADAPTORS FOR SHORELINE FOR 30A AND 20A SERVICE
SHORELINE REVERSE POLARITY MONITOR
TELEPHONE AND CABLE TV CONNECTORS NEAR SHORELINE REEL
COAX CORD
AUXILIARY AIR COMPRESSOR WITH TWO SERVICE AIR CONNECTIONS (D/S AND C/S)
COSMETIC PANELS TO COVER ELECTRICAL EQUIPMENT
120 VOLT GFCI RECEPTACLE IN THE PLUMBING COMPARTMENT
330 AMP AIR COOLED ALTERNATOR FOR HOUSE SYSTEM
140 AMP AIR COOLED ALTERNATOR FOR CHASSIS SYSTEM
HVAC
AQUAHOT HEATER WITH THERMOSTATS IN PLUMBING COMPARTMENT
(4) ROOFTOP A/C UNITS LOW PROFILE (15,000 BTU’S EACH)
120 VAC CERAMIC HEATER IN FIRST, SECOND AND PLUMBING BAYS
ELECTRIC FLOOR HEAT
GENERATOR
POWERTECH ULTIMATE 17.5 KW TURBO GENERATOR
GENERATOR AUTO-START FEATURE (CONTROLLED BY LUTRON AND CRESTRON SYSTEMS)
GENERATOR BATTERY BOOST CIRCUITRY
GENERATOR PRIMARY FUEL FILTER
START/STOP SWITCHES AT THE FOLLOWING LOCATIONS:
* GENERATOR
* DRIVER’S AREA POWER PANEL
* INVERTER PANEL
* CRESTRON TOUCHSCREENS
* ANY REMOTE ACCESS COMPUTER
ROOF MOUNTED GENERATOR EXHAUST
ROOF MOUNTED COOLING SYSTEM FOR GENERATOR
FOUR INVERTER BYPASS SWITCHES
9
PLUMBING
AQUAHOT WATER HEATING SYSTEM WITH (2) 1500 WATT ELECTRIC HEATING ELEMENTS
HEADHUNTER 120 VOLT WATER PUMP
WATER PRESSURE REGULATOR
CARTRIDGE WATER FILTER SYSTEM
2 HOSE CARRIERS FOR DUMPING HOLDING TANKS
PAPER TOWEL AND SOAP DISPENSER
PLASTIC PLUMBING WITH FLEXIBLE LINES FOR VIBRATION ISOLATION
MANIFOLD SYSTEM WITH SHUT OFF VALVES TO ALL PLUMBING EQUIPMENT. (NO SHUTOFFS INSIDE THE
COACH INTERIOR; CONTINUOUS LINES RUN FROM THE MANIFOLD TO THE FIXTURE)
STAINLESS STEEL COVER
POLYPROPYLENE FRESH WATER TANK WITH CLEAN OUT (180 GALLONS)
POLYPROPYLENE GREY WATER TANK WITH CLEAN OUT (90 GALLONS)
POLYPROPYLENE BLACK WATER TANK WITH CLEAN OUT (90 GALLONS)
ELECTRIC OPERATED DUMP VALVES
TANK LEVEL MONITOR GAUGES AT ALL CRESTRON PANELS
CITY WATER INLET WITH MILLENNIUM AUTOMATIC FRESH WATER FILL SYSTEM
GRAVITY FILL FOR FRESH WATER TANK
MANUAL TANK CLEAN OUT VALVES FOR GREY AND BLACK TANK
HOSE BIB
STAINLESS STEEL COSMETIC PANELS TO COVER PLUMBING EQUIPMENT
BUILT IN PRESSURE WASHER WITH 75’ LINE ON REEL (1450 PSI)
BUILT IN DEIONIZER WITH BYPASS FOR SPOT FREE RINSE MODE
MACERATOR WITH ELECTRIC HOSE REEL
ABS PLASTIC UNDER THE PLUMBING EQUIPMENT
BAY ENTERTAINMENT CENTER
ENTERTAINMENT CABINET WITH STORAGE DRAWERS
REFRIGERATOR
BOSE WAVE AM/FM/CD/MP3 STEREO
42” LED FLAT SCREEN MONITOR ON PULLOUT ADJUSTABLE SLIDE SYSTEM
(4) ZIP DEE LAWN CHAIRS
KENYON CUSTOM SMOKELESS INFRA RED GRILL
MODEL2010 Millennium H-3 45, Triple Slide
LENGTH45.0 FT
TYPEPrevost
ENGINE TYPEDetroit Diesel Series
FUEL TYPEDiesel
SLIDESThree (3)
COLORCustom
STOCK NUM#1298
Fully Loaded
Triple slide w/ two rear slides
Rear bath
CHASSIS SPECS
GENERAL
LENGTH, OVERALL45.0 FT.
WHEELBASE316.12 IN.
WIDTH, OVERALL102.0 IN.
HEIGHT, OVERALL149.0 IN.
FLOOR-TO-CEILING HEIGHT 83.0 IN
CABIN FLOOR HEIGHT (FROM THE GROUND)63.0 IN.
USABLE CABIN FLAT FLOOR LENGTH
(NO WHEEL HUMPS)37.5 FT.
UNDER-FLOOR STORAGe 505 CU.FT.
UNDER-FLOOR COMPARTMENTS DOORS WIDTH 48.5 IN.
ENTRANCE DOOR WIDTH 27.0 IN.
STEP HEIGHT 14.0 IN.
GROUND CLEARANCE 11.0 IN.
OVERHANG (INCL. BUMPER) — FRONT 75.0 IN.
OVERHANG (INCL. BUMPER) — REAR107.0 IN.
TURNING RADIUS41.8 FT.
BODY CONSTRUCTION (STRUCTURE) INTEGRAL STAINLESS STEEL
BODY CONSTRUCTION (OUTER SHELL)FIBER COMPOSITE
BODY CONSTRUCTION (SUB-FRAME)LOW-ALLOY/HIGH TENSILE STEEL
FUEL TANK (US GALS.) 230
FUEL FILLER NECKS ON BOTH SIDES
GROSS VEHICLE WEIGHT RATING (LBS.)
54,500
AXLE DESIGN LOAD CAPACITY (LBS.) – FRONT
18,000
AXLE DESIGN LOAD CAPACITY (LBS.) – DRIVE
22,500
AXLE DESIGN LOAD CAPACITY (LBS.) – TAG
14,000
CHASSIS WET WEIGHT - WITH DRIVER A/C (LBS.) 31,140
A/C REFRIGERANT 134 A
TIRES AND WHEELS
MICHELIN 315/80R22.5 (DRIVE)MICHELIN 365/70R22.5 (FRONT & TAG)
ALCOA ALUMINUM RIMS
22.5 X 10.5 IN. (FRONT & TAG AXLES)22.5 X 9 IN. (DRIVE AXLE)
POWERTRAIN
DETROIT DIESEL SERIES 60 W/EGR 14L-515HP (5-YR. WARRANTY)
3-SPEED ENGINE COOLING FAN
ALLISON WORLD B500, 6-SPEED AUTO. TRANS. (5-YR. WARRANTY)
CRUISE CONTROL
ALLISON HYDRAULIC TRANSMISSION RETARDER
PNEUMATIC DRIVE BELTS TENSIONERS
TURBO BOOST GAUGE
ENGINE COOLANT FILTER
RACOR FUEL FILTER
BRAKES
ALL-DISC BRAKES WITH ABS AND ELECTRONIC STABILITY PROGRAM
FRONT WHEELS BRAKE BOOSTERSTYPE 27
DRIVE WHEELS BRAKE BOOSTERSTYPE 24-24
TAG WHEELS BRAKE BOOSTERSTYPE 14-16
PARKING BRAKE BOOSTER ON TAG WHEELS
STEERING AND SUSPENSION
SMART WHEEL
PNEUMATIC TILT & TELESCOPIC STEERING WHEEL
ZF SERVOCOM CONSTANT POWER STEERING
ZF SERVOCOMTRONIC VARIABLE POWER STEERING
INDEPENDENT SUSPENSION SYSTEM
STEERING SLAVE CYLINDER
FRONT & DRIVE AXLES SWAY BARS
INTEGRATED PNEUMATIC LEVEL-LOW LEVELING SYSTEM
LIFTABLE TAG AXLE
ELECTRICAL SYSTEM
FULLY MULTIPLEXED ELECTRICAL SYSTEM
12-VOLT EXT. LIGHTING
24-VOLT MAIN SYSTEM
SHELL ALTERNATOR (DRIVER A/C) 140 AMPS
MILLENNIUM INSTALLED HOUSE ALTERNATOR 335 AMPS
FACTORY-INSTALLED OPTIONAL EQUIPMENT
FACTORY SLIDE-OUTS (ALL-ELECTRICAL) 3 SLIDES
CURBSIDE FRONT NONE REAR 1’6” X 10’ 10”
ROADSIDE FRONT 2’ 6” REAR 1’6” X 10’ 10”
HIGH-INTENSITY HEADLIGHTS
FOG LIGHTS
RAMCO REMOTE CHROME HEATED REARVIEW MIRRORS
CENTRAL ELECTRICAL DOOR LOCKING SYSTEM
REMOTE KEYLESS LOCKING (ENTRANCE DOOR)
REMOTE KEYLESS LOCKING (COMPARTMENT DOORS)
TRAILER HITCH PACKAGE (20,000 LBS.)
LOW FUEL WARNING LIGHT
COURTESY LIGHTS BLINKER SWITCH
ENGINE AND COMPARTMENTS LIGHTING
KNOEDLER POWER CHIEF WITH HEATING, COOLING AND MASSAGING DRIVER SEAT
5 COLOR FACTORY EXTERIOR PAINT W/SPECIAL EFFECT AND SUPER CLEAR COAT
BACK-UP SOUND ALARM
HEADLAMPS CLEANING
XENON HEADLAMPS
GENERAL
LIGHTWEIGHT GRANITE COUNTERTOPS
AIR POCKET DOORS WITH ROD-LESS CYLINDERS
FLEXFOIL INSULATION ON INTERIOR OF SHELL
MARINE GRADE ELECTRICAL WIRE
LUTRON HOMEWORKS ILLUMINATION CONTROL SYSTEM WITH REMOTE DIAGNOSTICS OPTION
5 CRESTRON TOUCH SCREEN CONTROLLERS LINKED TO LUTRON HOMEWORKS OPERATING SYSTEM WITH I-PHONE / I-TOUCH AND LAPTOP CONTROLS
FULLTIME INTERNET WI-FI NETWORK CONNECTION
RUSSOUND CAV6.6 SIX-ZONE A/V PROCESSOR
(2) DVD/VCR RECORDERS WITH DIGITAL TUNERS
(2) SATELLITE DVR RECEIVERS
CEILING ACCENT ROPE LIGHTING THROUGHOUT USING LED TECHNOLOGY
MARINE GRADE SOLID BRASS ADJUSTABLE OVERHEAD LIGHTS
MULTI-ZONE AQUA HOT HEATING SYSTEM
INTERIOR AND EXTERIOR LED LIGHTING
MOTORIZED HUNTER DOUGLAS CELL SHADES
FRONT AND REAR CUSTOM SPOILERS
STATEROOM
MAIN VANITY
32” FLAT SCREEN LCD MONITOR
BOSE 321 GS SERIES SURROUND SOUND
AIPHONE INTERCOM WITH BUILT IN MONITOR TO VIEW ENTRY DOOR
MASTER LIGHTING SWITCH ON THE REAR NIGHTSTAND AND FRONT
ELECTRIC BLACK-OUT SHADES
PRE-WIRE FOR CEILING FAN
CARBON MONOXIDE DETECTOR
SMOKE DETECTOR
SPECIAL LIGHTWEIGHT SOUND INSULATION PACKAGE
FABRICA CARPETING WITH HIGH DENSITY PADDING
JR. KING ADJUSTABLE BED
LEFT AND RIGHT END TABLES AT HEAD OF THE BED
DRAWER BENEATH THE FOOT OF THE BED
MIRRORED CEILING
CUSTOM BEDDING
CARPET LINED WARDROBE CABINETS WITH CEDAR CEILINGS
LAVATORY
MID AND REAR LAVATORY WITH HEADHUNTER ELONGATED COMMODE WITH HOMETECH BIDET
OVERSIZED SHOWER IN REAR LAVATORY
120-VOLT VANITY LIGHTING
120-VOLT OUTLET IN BOTTOM AND INSIDE UPPER VANITY CABINET
FANTASTIC VENT WITH COVER IN COMMODE ROOM
AQUAHOT HEATER
PORCELAIN TILE FLOORS WITH GRANITE INLAYS
GRANITE COUNTERTOPS
SHAMPOO AND SOAP HOLDER
LOWER VANITY CABINET WITH FLUSH DOORS AND DRAWERS
MEDICINE CABINET
GALLEY
GE SIDE BY SIDE FULL SIZED REFRIGERATOR WITH 23.3 CUBIC FEET OF STORAGE
BREW EXPRESS COFFEE MAKER (RECESSED AND HARD PLUMBED)
TWO BURNER COOK TOP
STACKED BOSCH WASHER AND DRYER UNITS
MARINE-GRADE POWER PANEL
ADVANTIUM CONVECTION MICROWAVE
AQUAHOT HEATER
CENTRAL VACUUM
BAR DINETTE WITH ADJUSTABLE CUSTOM BUILT STOOLS WITH POP-UP COMPUTER/TV
SMOKE DETECTOR
AUTOMATIC INTERIOR LED CABINET LIGHTS
GALAXY GRANITE FLOORING WITH RED ONYX INCLUDING ELECTRIC FLOOR HEAT
FRANKE BEECH SINK SYSTEM WITH ACCESSORIES
SINGLE HANDLE FAUCET WITH BUILT-IN SPRAYER
FULL SIZED PANTRY
LIGHTWEIGHT CABINET CONSTRUCTION WITH WOOD VENEER AND POLYESTER FINISH
FISCHER PAYKEL DISH DRAWER
FRONT LOUNGE
LIFESTYLE V30 HOME THEATER SYSTEM
42’ LCD TELEVISION
ADAGIO MULTI MEDIA SERVER IN HD
EKRONE RECLINER
FIBERGLASS WINDOW SILLS
MOTORIZED HUNTER DOUGLAS CELL SHADES
SOFA (ELECTRIC FRAME) ON DRIVER’S SIDE WITH STORAGE BELOW
PILOT AND CO-PILOT SEATING AREA
110 VAC AND 12 VDC OUTLETS
KENWOOD/GARMIN AM/FM/DVD/GPS/MP3
MAPPING SYSTEM
15” ADJUSTABLE MONITOR AT PASSENGER SEAT
COLOR LCD BACKUP MONITOR WITH I-CONTROL FUNCTION
CB RADIO
MAP LIGHTS FOR CO-PILOT AND DRIVER
MASTER CONTROL SWITCHES
ELECTRIC PRIVACY SHADES
MAP STORAGE AND DRINK HOLDER
CARPETING BELOW THE DRIVER’S SEAT
KNOELDER AIR RIDE COOLED, HEATED AND MESSAGING DRIVER’S SEAT
BURL DASH PANELS
CUSTOM ENTRY DOOR DESIGN
SLIDE STEPWELL COVER
OPEN SHOE STORAGE IN STEPWELL
CUSTOM STEERING WHEEL WITH SMART FUNCTIONS
VILLA 28” WIDE CO-PILOT SEAT WITH THE FOLLOWING OPTIONS: RECLINE, FOOTREST, ELECTRIC SIX WAY POWER BASE, MASSAGE, HEATING, MAP STORAGE AND DRINK HOLDER
EXTERIOR GENERAL EQUIPMENT
UPPER AND LOWER LED BLUE ROPE LIGHTING
CB ANTENNA
CELLULAR PHONE ANTENNA
AM/FM ANTENNA
GPS ANTENNA
DIGITAL TV ANTENNA
INMOTION TRACSTAR SATELLITE
DISH WITH (2) RECEIVERS
COLOR DIRECTIONAL BACKUP CAMERA ON REAR OF COACH
AIPHONE DOORBELL / CAMERA NEXT TO ENTRANCE DOOR
4 FULL LENGTH ROOF MOUNTED AWNINGS WITH MOTION SENSORS (3-POSITION) SLIDEOUT / WINDOW / PATIO
(6) LED CURB LIGHTS
4 HIGH POWERED AIR HORNS IN NOSE FOR WIND NOISE REDUCTION
HWH ONE-TOUCH LEVELING SYSTEM
GENERATOR ROOF EXHAUST
CUSTOM PAINTED REAR WINDOW GRAPHICS
AQUAHOT ROOF EXHAUST
SIDE MARKER LIGHT TRIM
CHROME PLATED HEATED SIDE MIRRORS
LICENSE PLATE HOUSING-POLISHED S/S
MICROWAVE VENT
LED LIGHTS ON TOP AND BOTTOM OF COACH
BAY COMPARTMENTS
1ST BAY 101 CUBIC FEET OF STORAGE (CURBSIDE OR ROADSIDE)
2ND BAY 30 CUBIC FEET OF STORAGE (CURBSIDE)
3RD BAY 15 CUBIC FEET OF STORAGE (CURBSIDE)
(8) 8D MARINE DEEP CYCLE BATTERIES
(4) 3500 WATT OUTBACK INVERTERS
100 AMP VANNER BATTERY EQUALIZER
BATTERY TIE-IN RELAY (CONNECTING HOUSE BATTERIES TO CHASSIS BATTERIES AND CHASSIS BATTERIES TO HOUSE BATTERIES)
(4) BATTERY DISCONNECT SWITCHES
GLENDINNING ELECTRIC REEL FOR SHORELINE CORD (WITH WIRELESS REMOTE)SHORELINE CORD (60’)
ADAPTORS FOR SHORELINE FOR 30A AND 20A SERVICE
SHORELINE REVERSE POLARITY MONITOR
TELEPHONE AND CABLE TV CONNECTORS NEAR SHORELINE REEL
COAX CORD
AUXILIARY AIR COMPRESSOR WITH TWO SERVICE AIR CONNECTIONS (D/S AND C/S)
COSMETIC PANELS TO COVER ELECTRICAL EQUIPMENT
120 VOLT GFCI RECEPTACLES IN THE PLUMBING COMPARTMENT
330 AMP AIR COOLED ALTERNATOR FOR HOUSE SYSTEM
1 40 AMP AIR COOLED ALTERNATOR FOR CHASSIS SYSTEM
HVAC
AQUAHOT HEATER WITH THERMOSTATS IN PLUMBING COMPARTMENT
(4) ROOFTOP A/C UNITS LOW PROFILE (15,000 BTU’S EACH) CRESTRON CONTROLLED
120 VAC CERAMIC HEATER IN FIRST, SECOND AND PLUMBING BAYS
ELECTRIC FLOOR HEAT
GENERATOR
POWERTECH ULTIMATE 17.5 KW TURBO GENERATOR
GENERATOR AUTO-START FEATURE (CONTROLLED BY LUTRON AND CRESTRON SYSTEMS)
GENERATOR BATTERY BOOST CIRCUITRY
GENERATOR PRIMARY FUEL FILTER
START/STOP SWITCHES AT THE FOLLOWING LOCATIONS:
* GENERATOR
* DRIVER’S AREA POWER PANEL
* INVERTER PANEL
* CRESTRON TOUCHSCREENS
* ANY REMOTE ACCESS COMPUTER
ROOF MOUNTED GENERATOR EXHAUST
ROOF MOUNTED COOLING SYSTEM FOR GENERATOR
INVERTER BYPASS SWITCHES
PLUMBING
AQUAHOT WATER HEATING SYSTEM WITH (2) 1500 WATT ELECTRIC HEATING ELEMENTS
HEADHUNTER 120 VOLT WATER PUMP
WATER PRESSURE REGULATOR
CARTRIDGE WATER FILTER SYSTEM
2 HOSE CARRIERS FOR DUMPING HOLDING TANK HOSES
PAPER TOWEL AND SOAP DISPENSER
PLASTIC PLUMBING WITH FLEXIBLE LINES FOR VIBRATION ISOLATION
MANIFOLD SYSTEM WITH SHUT OFF VALVES TO ALL PLUMBING EQUIPMENT. (NO SHUTOFFS INSIDE THE COACH INTERIOR; CONTINUOUS LINES RUN FROM THE MANIFOLD TO THE FIXTURE)
STAINLESS STEEL COVER
POLYPROPYLENE FRESH WATER TANK WITH CLEAN OUT (200 GALLONS)
POLYPROPYLENE GREY WATER TANK WITH CLEAN OUT (100 GALLONS)
POLYPROPYLENE BLACK WATER TANK WITH CLEAN OUT (100 GALLONS)
ELECTRIC OPERATED DUMP VALVES
TANK LEVEL MONITOR GAUGES AT ALL CRESTRON PANELS AND REMOTE SYSTEMS
CITY WATER INLET WITH MILLENNIUM AUTOMATIC FRESH WATER FILL SYSTEM
GRAVITY FILL FOR FRESH WATER TANK
MANUAL TANK CLEAN OUT VALVES FOR GREY AND BLACK TANK
HOSE BIB
STAINLESS STEEL COSMETIC PANELS TO COVER PLUMBING EQUIPMENT
BUILT IN PRESSURE WASHER WITH 75’ LINE ON REEL (1450 PSI)
BUILT IN DEIONIZER WITH BYPASS FOR SPOT FREE RINSE MODE
MACERATOR WITH ELECTRIC HOSE REEL
ABS PLASTIC UNDER THE PLUMBING EQUIPMENT
ENTERTAINMENT CENTER
ENTERTAINMENT CABINET WITH STORAGE DRAWERS
REFRIGERATOR
BOSE 321 GS SERIES SURROUND SOUND
52” LCD FLAT SCREEN MONITOR ON PULLOUT ADJUSTABLE SLIDE SYSTEM
(4) ZIP DEE LAWN CHAIRS
KENYON CUSTOM SMOKELESS INFRA RED GRILL
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The production sample has finally arrived. Mahogany body and neck with a rosewood fretboard. Dot inlays. Humbucker pickup rout instead of a P-90. Full Tune-O-Matic bridge instead of a wraparound bridge. This is my idea of the perfect Junior.
Neck and Body: Mahogany
Fretboard: Rosewood
Pickups: One Ceramic Humbucker with a DC Resistance of 8.6K
Controls: Volume & Tone, 500K Audio Taper
Tone Circuit: Polypropylene .022μ capacitor
Scale Length: 24.75"
Neck Width at Nut: 1 11/16"
Neck Profile: C-Shaped
Neck Thickness at 1st Fret: 3/4"
Neck Thickness at 12th Fret: 7/8"
Fret Wire: Nickel/Silver 6105
Finish: Satin Poly
Weight: Approximately 6.5 pounds
Lemme tell you why this guitar exists. I wanted to figure out a way to build a guitar I always wanted to own, but nobody ever seemed interested in building and I wanted to be able to sell it at a decent price. It's the greatest rock guitar of all time, but one nobody seems willing to build the way I always felt it should be done. If you've got an interest in my long-winded explanation I'll be happy to share it with you.
Affordable Enough to Enjoy Owning
First off, there's the cost thing. During the decades since I was a teenager roaming the streets of Hollywood and rocking out with single-minded abandon, the marketing vultures of the industry have apparently noticed that us aging rockers make up a big chunk of the people who buy guitars. Presumably as we've aged we've accumulated too much disposable income. A lot of the industry is centered around providing exact copies of the guitar made famous in 1950-whatever and it has to be exactly like that 60-year-old guitar because there was some kind of special sauce in those that modern technology is unable to replicate. To replicate that mojo requires the use of special secrets that force them to charge you $3000 or $5000 or $9000 and then you're going to need to make sure nobody ever touches that instrument once you get it home or it will lose its resale value. I have acquaintances who own a room full of guitars that have barely ever been touched. That takes all the fun out of plugging in and playing an instrument. To me this stuff is supposed to be inexpensive enough so you can try out new things. You shouldn't be scared to take your new guitar out and play it. When you play your instrument you should be able to beat on it like it owes you money without worrying about the fiduciary consequences of nicking it up a little. The other thing that's become more and more prevalent is a desire for highly-figured woods, which almost never contribute to the sound of an instrument in a positive way, but they drive the cost up considerably. You won't find any of that here. I found an inexpensive foreign source for really lightweight mahogany bodies and necks. These are imported by me and assembled and finished in my shop.
Something I Always Wanted
So here's my take on a classic that's normally sold these days as a replica of its late-50's form. When the line originally debuted in the mid-50's it was intended to be a student guitar and its retail price was $49.50. It also had a P-90 pickup, which blues players came to love because their single-coil sound was a little bit thicker than the guitars coming out of Fullerton, but still thin and biting enough that every single nuance of your playing technique was audible. Unfortunately for rockers, every single nuance of your playing technique was audible. Along with a lot of 60-cycle hum. When the P.A.F. came along in 1957 it hit the expensive models first, but eventually became the most popular pickup the company made. The P.A.F. became so popular that the P-90 was almost out of production by the early 60's. Rockers love P.A.F. pickups because they have a fatness that distorts in ways single coil pickups don't and they have enough output to drive the front end of an amp nice and hard. I have a benchmark for rock guitars; they have to be capable of what I call a "Basic AC/DC" sound when you plug 'em into a decent amp. If I can't get that "chak" that thumps me in the chest a little I'm not sure what I should do. Apply some Zeus-Juice to this and your smile will light up the room. These pickups are a ceramic humbucker with a DC resistance of around 8.6k. Of course since the price of the instrument is so reasonable upgrading the pickup won't break the bank if you decide to go that way.
Mahogany Guitars Rule
Speaking of cost, this guitar has a very nice neck and body. That's primarily what you're buying. This is excellent mahogany (Toona Sinsensis or "Tuna Sinsemilla" in my own shop slang) with a lovely rosewood fretboard. Let me mention this about Chinese Mahogany, though. It has excellent sonic qualities, it's very light and it's not on any endangered lists (yet), but the grain isn't as regular and even as some varieties of mahogany. Every piece seems to have some little oddity that seems impossible. Sometimes there will be marks that look like part of the wood melted at some point. Or there will be squiggles in the grain that look like I scratched it up, but if you look close it's just some kind of dark streaking that cuts across the grain. Or odd areas where the grain goes from being really tight to really wide and open. When I stain it these areas sometimes get very dark and soak up more stain than you'd imagine they should, but it's just the way the wood grows. The quirks in the grain of some kinds of wood are all magical and special like with birdseye maple or burled walnut, but this is a little less magical and a little more Twilight Zone. So understand that you are buying a great-playing, great-sounding guitar, but it's going to have some 'personality.' Normally the guitars exported from this region seem to come painted in overly-bright Hello Kitty colors that cover the strangeness of the grain, but I don't care for paint on guitars. Some people embrace unusual appearance and some people freak out over it. Make sure you aren't the latter before you order.
Hardware You Can Trust
The hardware is fine, but it's not nearly as nice as the neck and body. The idea is to offer a solid deal on a guitar that sounds and plays really great right out of the box without the need to go broke in the process. That should be perfect for someone who's all about, "Hey, I wonder if a Junior might be the right way to go for me?" If you already know this is your thing then maybe you want to trick it out with some upgrades…or not. These are just fine as they are, but the bridge and tailpiece are castings. The nut is plastic. Other than that, it's got the kind of hardware most import guitars have. Playable, but not fancy. I just want to make that clear so you aren't expecting Schallers or something. In this price range you're getting generic import hardware. It works fine. It's not like back in the 70's when you'd try to tune your Japanese wonder-axe and the tuning machine would bend if you turned it too fast. Just a big FYI for the concerned consumer. I'm doing what I can to make a good, inexpensive product, but I can't perform miracles.
It's Got the Goods Where It Counts
These bodies are shipped to me with little metric potentiometer holes apparently designed for mini-pots. I drill out the holes to 3/8" and put CTS 500k Audio Taper pots in these guitars (I don't care for Linear Taper). I use a polypropylene .022μ capacitor in the tone circuit. I know the prevailing logic is that a vintage paper-in-wax or paper-in-oil capacitor sounds vintage-y-er than caps made from modern materials. I've tried to hear it, but I can't. What I do know is that in the years I've been testing capacitors I've noticed that polypropylene caps tend to be closer to spec more often than other types. To me this anecdotally implies that they are easier to build to tolerance than other caps. I use them because I never hear any hint of harshness from a poly cap and I'm reasonably sure that in a package of 50 they'll all be usable, even if the package is NOS from a decade gone by. If you want a special capacitor in your guitar I can build it that way, but otherwise you're getting a nice poly cap. Oh, and do you know why paper-in-oil caps stopped being made? The "oil" was a polychlorinated biphenyl, more commonly known as a PCB. Monsanto hurried to get out of the PCB business when the studies linking them to a whole range of unpleasant health problems began to become public. I mean, it's your liver, but it's worth pointing out. In any case, aerospace-grade Teflon-wrapped wiring rounds out the electronics payload, making these guitars much more substantial than your usual El Cheapo twang box. The control cavity and pickup rout are coated in shielding paint, so not only do you have that humbucking pickup making things quieter than Juniors-gone-by, but there's a nice shielded and grounded control cavity taking things to the next level.
Not Your Grandfather's Junior
By the way, as soon as I put the first one of these up for auction someone asked me if I could build one with a P-90. The kings of making these with a P-90 are still in business and still cranking out excellent guitars. They charge a lot more for them, but they make an excellent product. I'm building these because I've always felt like the Junior would be an unstoppable force of nature with a humbucker and making that happen is my raison d'être. I may eventually make one with a mini-humbucker because that's been driving my curiosity, too, but the P-90 Junior of your dreams is made in Tennessee, not Florida by way of Asia. Oh, and for the love of all that's holy, please don't ask me if I'll make a seven or eight-string version of this for you. Or inlay a dragon fighting a gryphon on the fretboard. I see stuff like that and I want to pull out a can of Ronson lighter fluid and go all Hendrix. Not to give you my old-man advice, but it's cooler if you make sounds that leave more of an impression than the guitar you were holding. "Oh yeah, I seem to remember he was playing a Junior." Nothing up your sleeves and you still pull that rabbit out of your hat. More impressive than walking up with a $20,000 custom 8-string guitar with a AAAAA top of endangered wood that's hand-carved out of a tree that used to be growing on the lawn of Aldous Huxley. You be the center of attention. Let the guitar just be a tool you brought along. Or at least that's my philosophical intent behind building 'em.
Hard-Mounted Pickup
Anyway, back to pickups. Humbuckers were never really associated with this model, but they pair up with it extremely well. These guitars are light-bodied and made of warm-sounding mahogany without the overly-bright (and heavy) maple tops of the more expensive models. When an amp distorts the harmonics light up. The treble can really get out of control if a guitar is too bright. A nice warm tone distorts into something you can really sink your teeth into. In the late 70's Saint Edward of Nijmegen screwed a P.A.F. into an alder Strat body. In his early instrument he had a vintage trem, but in '79 when he started using locking trems he thought the alder body was too bright and came up with a black and yellow beast made of mahogany to combat the dreaded toppiness. Later he'd go to basswood (also a very warm wood sonically), but I digress. Mahogany sounds awesome; that's the takeaway. The market has moved in odd directions in the last couple of decades. A lot of people want highly-figured wood encased in a thick finish. Those instruments may serve to somehow fill a need in a player's ego, but it's seldom if ever the path to a better-sounding guitar. Some of the best-sounding guitars are plain-Jane basswood, but in many cases tone isn't the driving force behind the instruments you see hanging up in the store. Getting back to Saint Edward, there's something else he discovered that moved mankind forward. If you screw your pickups right into the wood instead of mounting them in some kind of rings-with-springs contraption it sounds better and makes it easier to control feedback when you play in front of a loud amp. You can see that at work right here. There are manufacturers who'll tell you that hard-mounting a pickup is a novelty that doesn't yield any audible results, but when you dangle a pickup by springs and stand in front of a really loud amplifier the pickup will begin to vibrate in ways that don't sound very appealing. Some touring musicians wedge foam in around the sides of the pickup to fight it, but why should you have to? Ever kicked an old Fender amp with a spring reverb? Hard mounting combats that tendency for the springs to do things that nobody wants to hear. If you never play louder than bedroom volumes you'll never know the difference, but for those of you who live for feedback it will completely change the character of the feedback you get.
A Finish for People Who Actually Play
You may have noticed the satin finish on this guitar. That brings us to another part of the puzzle. One of my first instruments was an Aria made by Matsumoku. It had a satin finish and no matter how much I played it there were never any visible fingerprints on it. I've known guys who seemed to spend as much time polishing their instruments as playing them. Satin finishes rule. They never look dirty. I also kind of think shiny guitars look silly, so there's that. There's something kind of Louis XIV-ish about shiny, ponce-y guitar. I see someone open up a case with a quilted AAAA top staring out at me and I can't help thinking they should be wearing a powdered wig, pointy shoes and a lace cravat. Here's a big thing, though…those 20-coat lacquer paint jobs are thick and that thick paint dampens the resonance of the instrument. It's a big part of why cork-sniffers love the early nitrocellulose paint. It wasn't so much like wrapping your instrument in neoprene. And that's a valid way to go, but not the one I've chosen because I really like the way satin finishes look and feel. Oh yeah, the feel-y thing. Shiny guitars grab your skin. Those gloss finishes have a friction coefficient like glass. You're chucka-chucka-ing away and your shiny guitar suddenly friction-rapes your forearm. Now you just fell out of time with the rest of the band and looked silly in the process. If only you had a guitar with about a quarter as much friction trying to grab you. You know, like this one.
I Don't Hide the Tenon
Finally, you may have noticed that the tenon is visible because I haven't used a pickguard. That's intentional. I always hated the pickguards on Juniors. They looked like a prop from H.R. Pufnstuf. Manufacturers have really jumped through hoops over the years to prevent the tenon from being visible in set-neck guitars. Odd-shaped pickguards with little trapezoids between the neck pickup and the neck. Rectangular pickguard extensions that fit between the pickups. All to keep the guitar from appearing like it was assembled. Well, I grew up loving 'Hippie Sandwich' guitars where the through-neck stripe was a visible part of the construction. I have no problem with a visible tenon. If you want to cut some kind of pickguard to cover it that's up to you, but I say it loud; my guitars have a set neck and I'm proud. That said, I have built Juniors with a pickguard and will do it if that appeals to you. I mean, it's your guitar at the end of the day. I'm just hesitant about building things where the look is more important than the functionality. These guitars weren't designed to be part of a print ad by The Gap or Old Navy. They're designed to rock with as little artifice as possible. No binding. No big goofy trapezoid pearl inlays. No gold plated hardware or florentine flourishes. Just something that makes the rock and roll.
The Bottom Line
This is the ultimate 24 3/4"-scale set-neck, solid-body, rock-and-roll machine. In my opinion, of course. It's light, comfortable, warm, loud, has a very full tone and doesn't have two pickups magnetically pulling at your strings or a body full of spaghetti from all manner of wiring sucking your tone. I honestly don't know why this instrument in the configuration I build isn't issued to every kid with disciplinary problems who's interested in rock guitar. It's designed from the ground up to rock. Besides all that, it looks absolutely awesome (in my opinion…again, your mileage may vary). I honestly don't see how you can go wrong. Of course, I like earning a living, so you probably shouldn't blindly trust me, but I'm shootin' you straight. As soon as I assembled the first one I knew. Plug it in and you'll know, too.
What's in a Name?
By the way, the name is kind of an inside joke. When I was about 11 I walked by a pawn shop and saw a no-name Made-in-Japan sunburst electric guitar in the window. They wanted $79 for it. My dad had given me a .22 rifle with a scope a few years earlier and I took it back to see if they'd trade. They swapped me the guitar for the rifle and I joked that I went from being a Gun-Man to being a Guitar-Man, but I was still a G-Man at the end of the day. So when I decided to build a Junior I couldn't help calling it a, 'Junior G-Man.'
2010 Millennium XLII, #9399
Sildes: 2 - Rear Super Slide (Prevost)
MILLENNIUM UNIT #9399
2010 XLII S2 REAR SUPERSLIDE
CHASSIS SPECS
GENERAL
LENGTH, OVERALL 45.0 FT.
WHEELBASE 314.0 IN.
WIDTH, OVERALL 102.0 IN.
HEIGHT, OVERALL 140.0 IN.
FLOOR-TO-CEILING HEIGHT 86.0 IN
CABIN FLOOR HEIGHT (FROM THE GROUND) 48.5 IN.
USABLE CABIN FLAT FLOOR LENGTH
(NO WHEEL HUMPS) 34.75 FT.
UNDER-FLOOR STORAGE (WITH DRIVER A/C) 407 CU.FT.
UNDER-FLOOR COMPARTMENTS DOORS WIDTH 60.5 IN.
ENTRANCE DOOR WIDTH 30.0 IN.
STEP HEIGHT 15.0 IN.
GROUND CLEARANCE 11.0 IN.
OVERHANG (INCL. BUMPER) — FRONT 68.75 IN.
OVERHANG (INCL. BUMPER) — REAR 107.75 IN.
TURNING RADIUS 41.8 FT.
BODY CONSTRUCTION (STRUCTURE) INTEGRAL
BODY CONSTRUCTION (STAINLESS / RUST PROTECTED MILD STEEL)
(OUTER SHELL – UP TO WINDOW LEVEL) STAINLESS STEEL
BODY CONSTRUCTION (SUB-FRAME) LOW-ALLOY/HIGH TENSILE STEEL
FUEL TANK (US GALS.) 208
FUEL FILLER NECKS ON BOTH SIDES
GROSS VEHICLE WEIGHT RATING (LBS.) 54,500
AXLE DESIGN LOAD CAPACITY (LBS.) – FRONT 18,000
AXLE DESIGN LOAD CAPACITY (LBS.) – DRIVE 22,500
AXLE DESIGN LOAD CAPACITY (LBS.) – TAG 14,000
WET WEIGHT - WITH DRIVER A/C (LBS.) 31,150
WET WEIGHT - WITH FULL A/C (LBS.) 31,850
DRIVER-ONLY A/C
2
TIRES AND WHEELS
MICHELIN 315/80R22.5 (DRIVE)
MICHELIN 365/70R22.5 (FRONT & TAG)
ALCOA ALUMINUM RIMS
22.5 X 10.5 IN. (FRONT & TAG AXLES)
22.5 X 9 IN. (DRIVE AXLE)
POWERTRAIN
DETROIT DIESEL SERIES 60 W/EGR 14L-515HP (5-YR. WARRANTY)
3-SPEED ENGINE COOLING FAN
ALLISON WORLD B500, 6-SPEED AUTO. TRANS. (5-YR. WARRANTY)
CRUISE CONTROL
ALLISON HYDRAULIC TRANSMISSION RETARDER
PNEUMATIC DRIVE BELTS TENSIONERS
TURBO BOOST GAUGE
ENGINE COOLANT FILTER
RACOR FUEL FILTER
BRAKES
ALL-DISC BRAKES WITH ABS
FRONT WHEELS BRAKE BOOSTERS TYPE 27
DRIVE WHEELS BRAKE BOOSTERS TYPE 24-24
TAG WHEELS BRAKE BOOSTERS TYPE 14-16
PARKING BRAKE BOOSTER ON TAG WHEELS
STEERING AND SUSPENSION
PNEUMATIC TILT & TELESCOPIC STEERING WHEEL
ZF SERVOCOMTRONIC VARIABLE POWER STEERING
INDEPENDENT SUSPENSION SYSTEM
STEERING SLAVE CYLINDER
FRONT & DRIVE AXLES SWAY BARS
INTEGRATED PNEUMATIC LEVEL-LOW LEVELING SYSTEM
LIFTABLE TAG AXLE
3
ELECTRICAL SYSTEM
FULLY MULTIPLEXED ELECTRICAL SYSTEM
12-VOLT EXT. LIGHTING
24-VOLT MAIN SYSTEM
SHELL ALTERNATOR (DRIVER A/C) 140 AMPS
FACTORY-INSTALLED OPTIONAL EQUIPMENT
FACTORY SLIDE-OUTS (ALL-ELECTRICAL) 2 SLIDES W/ REAR SUPERSLIDE
ROADSIDE FRONT
ROADSIDE REAR (SUPERSLIDE)
KIDDE DUAL SPECTRUM FIRE PROTECTION SYSTEM
HIGH-INTENSITY HEADLIGHTS
FOG LIGHTS
RAMCO REMOTE HEATED REARVIEW MIRRORS
CENTRAL ELECTRICAL DOOR LOCKING SYSTEM
REMOTE KEYLESS LOCKING (ENTRANCE DOOR)
REMOTE KEYLESS LOCKING (COMPARTMENT DOORS)
TRAILER HITCH PACKAGE (20,000 LBS.)
LOW FUEL WARNING LIGHT
COURTESY LIGHTS BLINKER SWITCH
ENGINE AND COMPARTMENTS LIGHTING
ISRI AIR ADJUSTABLE (6800)
FACTORY EXTERIOR PAINT W/SPECIAL EFFECT
BACK-UP SOUND ALARM
HEADLAMPS CLEANING
GENERAL
XENON HEADLAMPS
AIR POCKET DOORS WITH ROD LESS CYLINDERS
FLEXFOIL INSULATION ON INTERIOR OF SHELL
MARINE GRADE ELECTRICAL WIRE
LUTRON HOMEWORKS ILLUMINATION CONTROL SYSTEM WITH REMOTE DIAGNOSTICS OPTION
5 CRESTRON TOUCH SCREEN CONTROLLERS LINKED TO LUTRON HOMEWORKS OPERATING SYSTEM WITH IPHONE
/ I-TOUCH AND LAPTOP CONTROLS
FULLTIME INTERNET WI-FI NETWORK CONNECTION
4
RUSSOUND CAV6.6 SIX-ZONE
A/V PROCESSOR
DVD/VCR RECORDERS WITH DIGITAL TUNERS
(2) SATELLITE DVR RECEIVERS
(1) ESCIENT MEDIA SERVER WITH 500GB STORAGE
CEILING LED ROPE LIGHTING THROUGHOUT
MARINE GRADE BRASS LED OVERHEAD LIGHTS
MULTI-ZONE AQUA HOT HEATING SYSTEM WITH DUAL 1500 WATT ELECTRIC ELEMENTS
INTERIOR AND EXTERIOR LED LIGHTING
MOTORIZED HUNTER DOUGLAS CELL SHADES
FRONT AND REAR CUSTOM SPOILERS
STATEROOM
MAIN VANITY
32” FLAT SCREEN LCD MONITOR
AIPHONE INTERCOM WITH BUILT IN MONITOR TO VIEW ENTRY DOOR
MASTER LIGHTING SWITCH ON THE REAR NIGHTSTAND AND FRONT
ELECTRIC BLACK-OUT SHADES
PRE-WIRE FOR CEILING FAN
CARBON MONOXIDE DETECTOR
SMOKE DETECTOR
SPECIAL LIGHTWEIGHT SOUND INSULATION PACKAGE
FABRICA CARPETING WITH HIGH DENSITY PADDING
TEMPER-PEDIC KING SIZED ADJUSTABLE BED
LEFT AND RIGHT END TABLES AT HEAD OF THE BED
DRAWER BENEATH THE FOOT OF THE BED
MIRRORED CEILING
CUSTOM BEDDING
CARPET LINED WARDROBE CABINETS WITH CEDAR CEILINGS
LAVATORY
120-VOLT VANITY LIGHTING
120-VOLT OUTLET IN BOTTOM AND INSIDE UPPER VANITY CABINET
FANTASTIC VENT OVER SHOWER AREA WITH COVER
FANTASTIC VENT WITH COVER IN COMMODE ROOM
5
AQUAHOT HEATER
GRANITE FLOORING
GRANITE COUNTERTOPS
SHAMPOO AND SOAP HOLDER
LOWER VANITY CABINET WITH FLUSH DOORS AND DRAWERS
HEADHUNTER ELONGATED COMMODE WITH HOMETECH BIDET
CUSTOM CURVED SHOWER
MEDICINE CABINET
GALLEY
GE SIDE BY SIDE FULL SIZED REFRIGERATOR WITH 23.3 CUBIC FEET OF STORAGE
BREW EXPRESS COFFEE MAKER (RECESSED AND HARD PLUMBED)
TWO BURNER COOK TOP
STACKED BOSCH WASHER AND DRYER UNITS
MARINE-GRADE POWER PANEL
SHARP INSIGHT PRO MICROWAVE DRAWER
AQUAHOT HEATERS CENTRAL VACUUM
GRANITE STARBURST MEDALLION INLAY IN PORCELAIN FLOOR
LOUNGE BAR WITH ELECTRIC LIFT COMPUTER/TV/CRESTRON TOUCH SCREEN,
WIRELESS KEYBOARD/MOUSE
SMOKE DETECTOR
AUTOMATIC INTERIOR LED CABINET LIGHTS
GRANITE FLOORING WITH ELECTRIC FLOOR HEAT
FRANKE BEECH SINK SYSTEM WITH ACCESSORIES
SINGLE HANDLE FAUCET WITH BUILT-IN SPRAYER
UNDER COUNTER PULL OUT TRASH CONTAINER
FULL SIZED PANTRY
LIGHTWEIGHT CABINET CONSTRUCTION WITH WOOD VENEER AND POLYESTER FINISH
FISCHER PAYKEL DISH DRAWER
EXTENDABLE ISLAND
FRONT LOUNGE
PRE-WIRE FOR FAX IN THE C/S LOWER CABINET (120-VOLT OUTLET, CELLULAR, AND LANDLINE TELEPHONE
JACKS
FIBERGLASS WINDOW SILLS
MOTORIZED HUNTER DOUGLAS CELL SHADES
6
SOFA (ELECTRIC FRAME) ON DRIVER’S SIDE WITH STORAGE BELOW
42” DROP DOWN LCD
PILOT AND CO-PILOT SEATING AREA
TIRE PRESSURE MONITORING SYSTEM
110 VAC AND 12 VDC OUTLETS
KENWOOD/GARMIN AM/FM/DVD/GPS/MP3
MAPPING SYSTEM
15” ADJUSTABLE MONITOR AT PASSENGER SEAT
COLOR LCD BACKUP MONITOR WITH I-CONTROL FUNCTION
CB RADIO
MAP LIGHTS FOR CO-PILOT AND DRIVER
MASTER CONTROL SWITCHES
ELECTRIC PRIVACY SHADES
MAP STORAGE AND DRINK HOLDER
CARPETING BELOW THE DRIVER’S SEAT
ISRINGHAUSEN AIR RIDE DRIVER’S SEAT
CUSTOM WOOD DASH PANELS
CUSTOM ENTRY DOOR DESIGN
SLIDE STEPWELL COVER
OPEN SHOE STORAGE IN STEPWELL
CUSTOM SMART STEERING WHEEL
VILLA 28” WIDE CO-PILOT SEAT WITH THE FOLLOWING OPTIONS: RECLINE, FOOTREST, ELECTRIC SIX WAY
POWER BASE, MASSAGE, HEATING, MAP STORAGE AND DRINK HOLDER
EXTERIOR GENERAL EQUIPMENT
UPPER AND LOWER LUMINESCENT BLUE ROPE LIGHTING
CB ANTENNA
CELLULAR PHONE ANTENNA
AM/FM ANTENNA
GPS ANTENNA
GLOMEX SAUCER-TYPE AMPLIFIED TV ANTENNA
INMOTION TRACSTAR SATELLITE DISH WITH (2) DVR RECEIVERS
COLOR DIRECTIONAL BACKUP CAMERA ON REAR OF COACH
7
AIPHONE DOORBELL / CAMERA NEXT TO ENTRANCE DOOR
4 FULL LENGTH ROOF MOUNTED AWNINGS WITH WIND MOTION SENSORS
(6) LED CURB LIGHTS
4 HIGH POWERED AIR HORNS IN NOSE FOR WIND NOISE REDUCTION
HWH ONE-TOUCH LEVELING SYSTEM
GENERATOR ROOF EXHAUST
CUSTOM PAINTED REAR WINDOW GRAPHICS
AQUAHOT ROOF EXHAUST
SIDE MARKER LIGHT TRIM
CHROME PLATED HEATED SIDE MIRRORS
LICENSE PLATE HOUSING-POLISHED S/S
MICROWAVE VENT
LED LIGHTS ON TOP AND BOTTOM OF COACH
BAY COMPARTMENTS
1ST BAY 101.75 CUBIC FEET OF STORAGE (CURBSIDE OR ROADSIDE)
(8) 8D MARINE DEEP CYCLE BATTERIES
(4) 3500 WATT OUTBACK INVERTERS
100 AMP VANNER BATTERY EQUALIZER
BATTERY TIE-IN RELAY (CONNECTING HOUSE BATTERIES TO CHASSIS BATTERIES AND CHASSIS BATTERIES
TO HOUSE BATTERIES)
(4) BATTERY DISCONNECT SWITCHES
GLENDINNING ELECTRIC REEL FOR SHORELINE CORD (WITH WIRELESS REMOTE)
SHORELINE CORD (60’)
ADAPTORS FOR SHORELINE FOR 30A AND 20A SERVICE
SHORELINE REVERSE POLARITY MONITOR
TELEPHONE AND CABLE TV CONNECTORS NEAR SHORELINE REEL
COAX CORD
AUXILIARY AIR COMPRESSOR WITH TWO SERVICE AIR CONNECTIONS (D/S AND C/S)
COSMETIC PANELS TO COVER ELECTRICAL EQUIPMENT
120 VOLT GFCI RECEPTACLE IN THE PLUMBING COMPARTMENT
330 AMP AIR COOLED ALTERNATOR FOR HOUSE SYSTEM
140 AMP AIR COOLED ALTERNATOR FOR CHASSIS SYSTEM
8
HVAC
AQUAHOT HEATER WITH THERMOSTATS IN PLUMBING COMPARTMENT
(4) ROOFTOP A/C UNITS LOW PROFILE (15,000 BTU’S EACH)
120 VAC CERAMIC HEATER IN FIRST, SECOND AND PLUMBING BAYS
ELECTRIC FLOOR HEAT
GENERATOR
POWERTECH ULTIMATE 17.5 KW TURBO GENERATOR
GENERATOR AUTO-START FEATURE (CONTROLLED BY LUTRON AND CRESTRON SYSTEMS)
GENERATOR BATTERY BOOST CIRCUITRY
GENERATOR PRIMARY FUEL FILTER
START/STOP SWITCHES AT THE FOLLOWING LOCATIONS:
* GENERATOR
* DRIVER’S AREA POWER PANEL
* INVERTER PANEL
* CRESTRON TOUCHSCREENS
* ANY REMOTE ACCESS COMPUTER
ROOF MOUNTED GENERATOR EXHAUST
ROOF MOUNTED COOLING SYSTEM FOR GENERATOR
FOUR INVERTER BYPASS SWITCHES
PLUMBING
AQUAHOT WATER HEATING SYSTEM WITH (2) 1500 WATT ELECTRIC HEATING ELEMENTS
HEADHUNTER 120 VOLT WATER PUMP
WATER PRESSURE REGULATOR
CARTRIDGE WATER FILTER SYSTEM
2 HOSE CARRIERS FOR DUMPING HOLDING TANKS
PAPER TOWEL AND SOAP DISPENSER
PLASTIC PLUMBING WITH FLEXIBLE LINES FOR VIBRATION ISOLATION
MANIFOLD SYSTEM WITH SHUT OFF VALVES TO ALL PLUMBING EQUIPMENT. (NO SHUTOFFS INSIDE THE
COACH INTERIOR; CONTINUOUS LINES RUN FROM THE MANIFOLD TO THE FIXTURE)
STAINLESS STEEL COVER
POLYPROPYLENE FRESH WATER TANK WITH CLEAN OUT (180 GALLONS)
POLYPROPYLENE GREY WATER TANK WITH CLEAN OUT (80 GALLONS)
9
POLYPROPYLENE BLACK WATER TANK WITH CLEAN OUT (80 GALLONS)
ELECTRIC OPERATED DUMP VALVES
TANK LEVEL MONITOR GAUGES AT ALL CRESTRON PANELS
CITY WATER INLET WITH MILLENNIUM AUTOMATIC FRESH WATER FILL SYSTEM
GRAVITY FILL FOR FRESH WATER TANK
MANUAL TANK CLEAN OUT VALVES FOR GREY AND BLACK TANK
HOSE BIB
STAINLESS STEEL COSMETIC PANELS TO COVER PLUMBING EQUIPMENT
BUILT IN PRESSURE WASHER WITH 75’ LINE ON REEL (1450 PSI)
BUILT IN DEIONIZER WITH BYPASS FOR SPOT FREE RINSE MODE
MACERATOR WITH ELECTRIC HOSE REEL
ABS PLASTIC UNDER THE PLUMBING EQUIPMENT
BAY ENTERTAINMENT CENTER
ENTERTAINMENT CABINET WITH STORAGE DRAWERS
REFRIGERATOR
BOSE WAVE AM/FM/CD/MP3 STEREO
42” LCD FLAT SCREEN MONITOR ON PULLOUT ADJUSTABLE SLIDE SYSTEM
(4) ZIP DEE LAWN CHAIRS
KENYON CUSTOM SMOKELESS INFRA RED GRILL
MODEL2010 Millennium H-3 45, Triple Slide
LENGTH45.0 FT
TYPEPrevost
ENGINE TYPEDetroit Diesel Series
FUEL TYPEDiesel
SLIDESThree (3)
COLORCustom
STOCK NUM#1298
Fully Loaded
Triple slide w/ two rear slides
Rear bath
CHASSIS SPECS
GENERAL
LENGTH, OVERALL45.0 FT.
WHEELBASE316.12 IN.
WIDTH, OVERALL102.0 IN.
HEIGHT, OVERALL149.0 IN.
FLOOR-TO-CEILING HEIGHT 83.0 IN
CABIN FLOOR HEIGHT (FROM THE GROUND)63.0 IN.
USABLE CABIN FLAT FLOOR LENGTH
(NO WHEEL HUMPS)37.5 FT.
UNDER-FLOOR STORAGe 505 CU.FT.
UNDER-FLOOR COMPARTMENTS DOORS WIDTH 48.5 IN.
ENTRANCE DOOR WIDTH 27.0 IN.
STEP HEIGHT 14.0 IN.
GROUND CLEARANCE 11.0 IN.
OVERHANG (INCL. BUMPER) — FRONT 75.0 IN.
OVERHANG (INCL. BUMPER) — REAR107.0 IN.
TURNING RADIUS41.8 FT.
BODY CONSTRUCTION (STRUCTURE) INTEGRAL STAINLESS STEEL
BODY CONSTRUCTION (OUTER SHELL)FIBER COMPOSITE
BODY CONSTRUCTION (SUB-FRAME)LOW-ALLOY/HIGH TENSILE STEEL
FUEL TANK (US GALS.) 230
FUEL FILLER NECKS ON BOTH SIDES
GROSS VEHICLE WEIGHT RATING (LBS.)
54,500
AXLE DESIGN LOAD CAPACITY (LBS.) – FRONT
18,000
AXLE DESIGN LOAD CAPACITY (LBS.) – DRIVE
22,500
AXLE DESIGN LOAD CAPACITY (LBS.) – TAG
14,000
CHASSIS WET WEIGHT - WITH DRIVER A/C (LBS.) 31,140
A/C REFRIGERANT 134 A
TIRES AND WHEELS
MICHELIN 315/80R22.5 (DRIVE)MICHELIN 365/70R22.5 (FRONT & TAG)
ALCOA ALUMINUM RIMS
22.5 X 10.5 IN. (FRONT & TAG AXLES)22.5 X 9 IN. (DRIVE AXLE)
POWERTRAIN
DETROIT DIESEL SERIES 60 W/EGR 14L-515HP (5-YR. WARRANTY)
3-SPEED ENGINE COOLING FAN
ALLISON WORLD B500, 6-SPEED AUTO. TRANS. (5-YR. WARRANTY)
CRUISE CONTROL
ALLISON HYDRAULIC TRANSMISSION RETARDER
PNEUMATIC DRIVE BELTS TENSIONERS
TURBO BOOST GAUGE
ENGINE COOLANT FILTER
RACOR FUEL FILTER
BRAKES
ALL-DISC BRAKES WITH ABS AND ELECTRONIC STABILITY PROGRAM
FRONT WHEELS BRAKE BOOSTERSTYPE 27
DRIVE WHEELS BRAKE BOOSTERSTYPE 24-24
TAG WHEELS BRAKE BOOSTERSTYPE 14-16
PARKING BRAKE BOOSTER ON TAG WHEELS
STEERING AND SUSPENSION
SMART WHEEL
PNEUMATIC TILT & TELESCOPIC STEERING WHEEL
ZF SERVOCOM CONSTANT POWER STEERING
ZF SERVOCOMTRONIC VARIABLE POWER STEERING
INDEPENDENT SUSPENSION SYSTEM
STEERING SLAVE CYLINDER
FRONT & DRIVE AXLES SWAY BARS
INTEGRATED PNEUMATIC LEVEL-LOW LEVELING SYSTEM
LIFTABLE TAG AXLE
ELECTRICAL SYSTEM
FULLY MULTIPLEXED ELECTRICAL SYSTEM
12-VOLT EXT. LIGHTING
24-VOLT MAIN SYSTEM
SHELL ALTERNATOR (DRIVER A/C) 140 AMPS
MILLENNIUM INSTALLED HOUSE ALTERNATOR 335 AMPS
FACTORY-INSTALLED OPTIONAL EQUIPMENT
FACTORY SLIDE-OUTS (ALL-ELECTRICAL) 3 SLIDES
CURBSIDE FRONT NONE REAR 1’6” X 10’ 10”
ROADSIDE FRONT 2’ 6” REAR 1’6” X 10’ 10”
HIGH-INTENSITY HEADLIGHTS
FOG LIGHTS
RAMCO REMOTE CHROME HEATED REARVIEW MIRRORS
CENTRAL ELECTRICAL DOOR LOCKING SYSTEM
REMOTE KEYLESS LOCKING (ENTRANCE DOOR)
REMOTE KEYLESS LOCKING (COMPARTMENT DOORS)
TRAILER HITCH PACKAGE (20,000 LBS.)
LOW FUEL WARNING LIGHT
COURTESY LIGHTS BLINKER SWITCH
ENGINE AND COMPARTMENTS LIGHTING
KNOEDLER POWER CHIEF WITH HEATING, COOLING AND MASSAGING DRIVER SEAT
5 COLOR FACTORY EXTERIOR PAINT W/SPECIAL EFFECT AND SUPER CLEAR COAT
BACK-UP SOUND ALARM
HEADLAMPS CLEANING
XENON HEADLAMPS
GENERAL
LIGHTWEIGHT GRANITE COUNTERTOPS
AIR POCKET DOORS WITH ROD-LESS CYLINDERS
FLEXFOIL INSULATION ON INTERIOR OF SHELL
MARINE GRADE ELECTRICAL WIRE
LUTRON HOMEWORKS ILLUMINATION CONTROL SYSTEM WITH REMOTE DIAGNOSTICS OPTION
5 CRESTRON TOUCH SCREEN CONTROLLERS LINKED TO LUTRON HOMEWORKS OPERATING SYSTEM WITH I-PHONE / I-TOUCH AND LAPTOP CONTROLS
FULLTIME INTERNET WI-FI NETWORK CONNECTION
RUSSOUND CAV6.6 SIX-ZONE A/V PROCESSOR
(2) DVD/VCR RECORDERS WITH DIGITAL TUNERS
(2) SATELLITE DVR RECEIVERS
CEILING ACCENT ROPE LIGHTING THROUGHOUT USING LED TECHNOLOGY
MARINE GRADE SOLID BRASS ADJUSTABLE OVERHEAD LIGHTS
MULTI-ZONE AQUA HOT HEATING SYSTEM
INTERIOR AND EXTERIOR LED LIGHTING
MOTORIZED HUNTER DOUGLAS CELL SHADES
FRONT AND REAR CUSTOM SPOILERS
STATEROOM
MAIN VANITY
32” FLAT SCREEN LCD MONITOR
BOSE 321 GS SERIES SURROUND SOUND
AIPHONE INTERCOM WITH BUILT IN MONITOR TO VIEW ENTRY DOOR
MASTER LIGHTING SWITCH ON THE REAR NIGHTSTAND AND FRONT
ELECTRIC BLACK-OUT SHADES
PRE-WIRE FOR CEILING FAN
CARBON MONOXIDE DETECTOR
SMOKE DETECTOR
SPECIAL LIGHTWEIGHT SOUND INSULATION PACKAGE
FABRICA CARPETING WITH HIGH DENSITY PADDING
JR. KING ADJUSTABLE BED
LEFT AND RIGHT END TABLES AT HEAD OF THE BED
DRAWER BENEATH THE FOOT OF THE BED
MIRRORED CEILING
CUSTOM BEDDING
CARPET LINED WARDROBE CABINETS WITH CEDAR CEILINGS
LAVATORY
MID AND REAR LAVATORY WITH HEADHUNTER ELONGATED COMMODE WITH HOMETECH BIDET
OVERSIZED SHOWER IN REAR LAVATORY
120-VOLT VANITY LIGHTING
120-VOLT OUTLET IN BOTTOM AND INSIDE UPPER VANITY CABINET
FANTASTIC VENT WITH COVER IN COMMODE ROOM
AQUAHOT HEATER
PORCELAIN TILE FLOORS WITH GRANITE INLAYS
GRANITE COUNTERTOPS
SHAMPOO AND SOAP HOLDER
LOWER VANITY CABINET WITH FLUSH DOORS AND DRAWERS
MEDICINE CABINET
GALLEY
GE SIDE BY SIDE FULL SIZED REFRIGERATOR WITH 23.3 CUBIC FEET OF STORAGE
BREW EXPRESS COFFEE MAKER (RECESSED AND HARD PLUMBED)
TWO BURNER COOK TOP
STACKED BOSCH WASHER AND DRYER UNITS
MARINE-GRADE POWER PANEL
ADVANTIUM CONVECTION MICROWAVE
AQUAHOT HEATER
CENTRAL VACUUM
BAR DINETTE WITH ADJUSTABLE CUSTOM BUILT STOOLS WITH POP-UP COMPUTER/TV
SMOKE DETECTOR
AUTOMATIC INTERIOR LED CABINET LIGHTS
GALAXY GRANITE FLOORING WITH RED ONYX INCLUDING ELECTRIC FLOOR HEAT
FRANKE BEECH SINK SYSTEM WITH ACCESSORIES
SINGLE HANDLE FAUCET WITH BUILT-IN SPRAYER
FULL SIZED PANTRY
LIGHTWEIGHT CABINET CONSTRUCTION WITH WOOD VENEER AND POLYESTER FINISH
FISCHER PAYKEL DISH DRAWER
FRONT LOUNGE
LIFESTYLE V30 HOME THEATER SYSTEM
42’ LCD TELEVISION
ADAGIO MULTI MEDIA SERVER IN HD
EKRONE RECLINER
FIBERGLASS WINDOW SILLS
MOTORIZED HUNTER DOUGLAS CELL SHADES
SOFA (ELECTRIC FRAME) ON DRIVER’S SIDE WITH STORAGE BELOW
PILOT AND CO-PILOT SEATING AREA
110 VAC AND 12 VDC OUTLETS
KENWOOD/GARMIN AM/FM/DVD/GPS/MP3
MAPPING SYSTEM
15” ADJUSTABLE MONITOR AT PASSENGER SEAT
COLOR LCD BACKUP MONITOR WITH I-CONTROL FUNCTION
CB RADIO
MAP LIGHTS FOR CO-PILOT AND DRIVER
MASTER CONTROL SWITCHES
ELECTRIC PRIVACY SHADES
MAP STORAGE AND DRINK HOLDER
CARPETING BELOW THE DRIVER’S SEAT
KNOELDER AIR RIDE COOLED, HEATED AND MESSAGING DRIVER’S SEAT
BURL DASH PANELS
CUSTOM ENTRY DOOR DESIGN
SLIDE STEPWELL COVER
OPEN SHOE STORAGE IN STEPWELL
CUSTOM STEERING WHEEL WITH SMART FUNCTIONS
VILLA 28” WIDE CO-PILOT SEAT WITH THE FOLLOWING OPTIONS: RECLINE, FOOTREST, ELECTRIC SIX WAY POWER BASE, MASSAGE, HEATING, MAP STORAGE AND DRINK HOLDER
EXTERIOR GENERAL EQUIPMENT
UPPER AND LOWER LED BLUE ROPE LIGHTING
CB ANTENNA
CELLULAR PHONE ANTENNA
AM/FM ANTENNA
GPS ANTENNA
DIGITAL TV ANTENNA
INMOTION TRACSTAR SATELLITE
DISH WITH (2) RECEIVERS
COLOR DIRECTIONAL BACKUP CAMERA ON REAR OF COACH
AIPHONE DOORBELL / CAMERA NEXT TO ENTRANCE DOOR
4 FULL LENGTH ROOF MOUNTED AWNINGS WITH MOTION SENSORS (3-POSITION) SLIDEOUT / WINDOW / PATIO
(6) LED CURB LIGHTS
4 HIGH POWERED AIR HORNS IN NOSE FOR WIND NOISE REDUCTION
HWH ONE-TOUCH LEVELING SYSTEM
GENERATOR ROOF EXHAUST
CUSTOM PAINTED REAR WINDOW GRAPHICS
AQUAHOT ROOF EXHAUST
SIDE MARKER LIGHT TRIM
CHROME PLATED HEATED SIDE MIRRORS
LICENSE PLATE HOUSING-POLISHED S/S
MICROWAVE VENT
LED LIGHTS ON TOP AND BOTTOM OF COACH
BAY COMPARTMENTS
1ST BAY 101 CUBIC FEET OF STORAGE (CURBSIDE OR ROADSIDE)
2ND BAY 30 CUBIC FEET OF STORAGE (CURBSIDE)
3RD BAY 15 CUBIC FEET OF STORAGE (CURBSIDE)
(8) 8D MARINE DEEP CYCLE BATTERIES
(4) 3500 WATT OUTBACK INVERTERS
100 AMP VANNER BATTERY EQUALIZER
BATTERY TIE-IN RELAY (CONNECTING HOUSE BATTERIES TO CHASSIS BATTERIES AND CHASSIS BATTERIES TO HOUSE BATTERIES)
(4) BATTERY DISCONNECT SWITCHES
GLENDINNING ELECTRIC REEL FOR SHORELINE CORD (WITH WIRELESS REMOTE)SHORELINE CORD (60’)
ADAPTORS FOR SHORELINE FOR 30A AND 20A SERVICE
SHORELINE REVERSE POLARITY MONITOR
TELEPHONE AND CABLE TV CONNECTORS NEAR SHORELINE REEL
COAX CORD
AUXILIARY AIR COMPRESSOR WITH TWO SERVICE AIR CONNECTIONS (D/S AND C/S)
COSMETIC PANELS TO COVER ELECTRICAL EQUIPMENT
120 VOLT GFCI RECEPTACLES IN THE PLUMBING COMPARTMENT
330 AMP AIR COOLED ALTERNATOR FOR HOUSE SYSTEM
1 40 AMP AIR COOLED ALTERNATOR FOR CHASSIS SYSTEM
HVAC
AQUAHOT HEATER WITH THERMOSTATS IN PLUMBING COMPARTMENT
(4) ROOFTOP A/C UNITS LOW PROFILE (15,000 BTU’S EACH) CRESTRON CONTROLLED
120 VAC CERAMIC HEATER IN FIRST, SECOND AND PLUMBING BAYS
ELECTRIC FLOOR HEAT
GENERATOR
POWERTECH ULTIMATE 17.5 KW TURBO GENERATOR
GENERATOR AUTO-START FEATURE (CONTROLLED BY LUTRON AND CRESTRON SYSTEMS)
GENERATOR BATTERY BOOST CIRCUITRY
GENERATOR PRIMARY FUEL FILTER
START/STOP SWITCHES AT THE FOLLOWING LOCATIONS:
* GENERATOR
* DRIVER’S AREA POWER PANEL
* INVERTER PANEL
* CRESTRON TOUCHSCREENS
* ANY REMOTE ACCESS COMPUTER
ROOF MOUNTED GENERATOR EXHAUST
ROOF MOUNTED COOLING SYSTEM FOR GENERATOR
INVERTER BYPASS SWITCHES
PLUMBING
AQUAHOT WATER HEATING SYSTEM WITH (2) 1500 WATT ELECTRIC HEATING ELEMENTS
HEADHUNTER 120 VOLT WATER PUMP
WATER PRESSURE REGULATOR
CARTRIDGE WATER FILTER SYSTEM
2 HOSE CARRIERS FOR DUMPING HOLDING TANK HOSES
PAPER TOWEL AND SOAP DISPENSER
PLASTIC PLUMBING WITH FLEXIBLE LINES FOR VIBRATION ISOLATION
MANIFOLD SYSTEM WITH SHUT OFF VALVES TO ALL PLUMBING EQUIPMENT. (NO SHUTOFFS INSIDE THE COACH INTERIOR; CONTINUOUS LINES RUN FROM THE MANIFOLD TO THE FIXTURE)
STAINLESS STEEL COVER
POLYPROPYLENE FRESH WATER TANK WITH CLEAN OUT (200 GALLONS)
POLYPROPYLENE GREY WATER TANK WITH CLEAN OUT (100 GALLONS)
POLYPROPYLENE BLACK WATER TANK WITH CLEAN OUT (100 GALLONS)
ELECTRIC OPERATED DUMP VALVES
TANK LEVEL MONITOR GAUGES AT ALL CRESTRON PANELS AND REMOTE SYSTEMS
CITY WATER INLET WITH MILLENNIUM AUTOMATIC FRESH WATER FILL SYSTEM
GRAVITY FILL FOR FRESH WATER TANK
MANUAL TANK CLEAN OUT VALVES FOR GREY AND BLACK TANK
HOSE BIB
STAINLESS STEEL COSMETIC PANELS TO COVER PLUMBING EQUIPMENT
BUILT IN PRESSURE WASHER WITH 75’ LINE ON REEL (1450 PSI)
BUILT IN DEIONIZER WITH BYPASS FOR SPOT FREE RINSE MODE
MACERATOR WITH ELECTRIC HOSE REEL
ABS PLASTIC UNDER THE PLUMBING EQUIPMENT
ENTERTAINMENT CENTER
ENTERTAINMENT CABINET WITH STORAGE DRAWERS
REFRIGERATOR
BOSE 321 GS SERIES SURROUND SOUND
52” LCD FLAT SCREEN MONITOR ON PULLOUT ADJUSTABLE SLIDE SYSTEM
(4) ZIP DEE LAWN CHAIRS
KENYON CUSTOM SMOKELESS INFRA RED GRILL
David Wahl has designed this ‘exploding’ pendant lamp for the upcoming IKEA PS Collection 2014 and it already appears to be the highlight piece – not that I’m belittling the other great pieces pieces from the collection, but its easy to see why this transforming pendant lamp will likely go on to become an IKEA bestseller. Its unique design is not only functional, it’s also very playful, and will prove to be popular amongst adults and children alike.
The Exploding Pendant Lamp is transformed from a glowing fissured sphere to a complex mass of suspended panels by pulling on a simple drawstring. This might at first glance seem like a bit of a gimmick but it’s actually a highly functional aspect to the design and meets the brief of the 2014 IKEA PS Collection very well. Being able to close up what is a pretty fragile looking structure into a compact ball will prove to be really handy when it comes to moving house, which city dwellers and students often have to do without cars.
Dimmer switches are a luxury not often afforded to basic city apartments, student accommodation included, but the transformative nature of the pendant lamp in itself serves to dim it. This gives the user a choice between having a bright light when its fully opened, or a glowing ambient lamp when closed – and of course a multitude of different light levels in between.
As with all the lights from the IKEA PS Collection 2014, this pendant lamp will make use of LED lights, which use 85% less energy than incandescent bulbs while also lasting a lot longer. The outer panels of the Exploding Pendant Lamp are composed of white polypropylene plastic but the rods on which they’re attached will be available in two different colours: turquoise or orange. Given that LED lights tend to give out a whiter (some would say colder) light than traditional bulbs, I’d probably opt for the orange colour option to make the light appear warmer.
more: homeli.co.uk/exploding-pendant-lamp-by-david-wahl-for-the...
Polypropylene Panel, PVC-U pipework containing GF Type 546 manual valves, PVC-U fittings, meters, gauges other instrumentation
Complete Triode Electronics.com ST-70 Tube Amp Build Kit.
Kit Inlcudes:
All parts needed for a complete Upgraded ST-70 Type Build except for the tubes. Including our custom made transformers which are made to original specs right here in Chicago Il. USA: PA-060-S Power Transformer (Nearly twice the lamination stack size of the original), A470-S Output Transformers, C354 Choke. As well as our Upgraded Heavy Duty Stainless Steel Chassis, TriodeElectronics ST-70 Driver Board (EF86 or 6AU6 Model, or no driver board for $64.95 less), and our TriodeElectronics Upgraded Capacitor Board.
What's so special about our Dynaco upgrade boards? The object of our upgrade boards is to provide a replacement for the original boards that would result in a perceptible improvement in sound quality and overall performance. These boards emulate the simple but highly effective (due to the short signal path and single gain stage) original Dynaco circuit, but with lower hum, noise, distortion and a wider voltage swing across heavier loads than a 7199, 6GH8, 6BL8/ECF80, 6U8/ECF82, or 6AN8, are capable of. The manual includes information on adapting the amplifier to different output & board tubes, adjusting resistor & capacitor values if desired, plus a comprehensive Troubleshooting Guide. Our newest version of the EF86 board has been slightly revised to accept 6922, 6DJ8, 7308, and 6CG7 in the phase inverter position as well as 12AU7, 12BH7, and ECC99 that were previously supported. Our 6AU6 version of the board is also available but does not support 6922, 6DJ8, 7308, or 6CG7.
Our Kit's a great choice if you really want to learn more about how your amplifier operates, too. You see, unlike many other Kit's, you are not totally locked in to only certain components, nor are you stuck with unchangeable circuit values which limit the versatility of your amplifier and further modifications. There's no "big secrets", you don't need permission from a "guru" to change or tweak it, the manual has instructions for about every change you could imagine making. Instructions are included for triode connecting the output tubes, which will give you a taste of hi-end triode-it is for the cost of 4 resistors, about $1. So, you've got a choice..you can just plug in & play, or you can do your own experimenting if you'd like to, learn a lot and become your own neighborhood Dynaco guru. And you won't break the bank doing it, either. The stock board and parts kit includes, transformers, choke, rca jacks, binding posts, metal film resistors, polypropylene capacitors, wire, Bias Pot, and sockets. which do just fine..but if you like you can modify many component values and try different or exotic parts and tweak to your heart's content. The board sounds fine even with the off the shelf, current production tubes, and special grading and matching is not absolutely necessary. It is a good example of what can be done with the original type of circuit with improved components, and makes a good case for the virtues of simplicity and short signal path in audio design. The TriodeElectronics ST70 boards emulate the simple but highly effective (due to the short signal path and single gain stage) original Dynaco circuit, but with lower hum, noise, distortion, and a wider voltage swing across heavier loads, than a 7199,6GH8,6BL8/ECF80, 6U8/ECF82 or 6AN8 are capable of. Comes without tubes, see our "Tubes for Dynacos" link at bottom of page for them. The board manual includes information on adapting the amplifier to different output & board tubes, adjusting resistor & capacitor values if desired, plus a comprehensive Troubleshooting Guide.
All kits include a comprehensive instruction manual with step by step build instructions. The sonic upgrade will be immediately noticed from a stock st70 type amp. With our board you are not captive to one design. It was made with the experimenter in mind. The driver board manual has the instructions to modify the board to use different tubes and part values, so later you are free to try different things that might sound better in your system.
Our ST70 Upgrade Cap Board Replaces the original aluminum can capacitor and increases capacity from the original 30-20-20-20 to over 500uF 's, using high quality capacitors which are bypassed by WIMA metalized polypropylene caps for superior high frequency response. This board gives the amp the bass definition the original lacked. Amp can be used with a 5AR4/GZ34 tube rectifier or solid state diode plugin unit (sold separately). It also replaces the bias supply capacitors & diode as well.
Kit also includes: 77-MIP-8 Amphenol Sockets, AGC Fuse Holder, Power Switch, Gold Plate Binding Posts, Gold teflon insulated RCA jacks, Bias Test Point Jacks, 10k bias potentiometers, offboard resistors included 10ohm biaset resistors (1V biaset), 20ft of brown cloth wire and more!
For our international customers you can also order the kit with our PA-521-S 230/240v export power transformer instead of the PA-060-S.
The kit is sold with everything you need to put it together except tubes, the driver board requires 2x EF86 or equivalent (or 6AU6 for the other version of board) tubes, and one of either 12AU7/ECC82 (or equivalent), or 12BH7 or ECC99. The power section of the amplifier requires four EL34/6CA7 tubes. If you will be using a tube rectifier (recommended) you will also need a 5AR4/GZ34 Tube. If you will be using a solid state rectifier let us know so we can adjust the cap board values for a higher voltage rating. We sell a octal plug in solid state rectifier if you want this option. With our kit you can have hours of tweaking and reconfiguring this amp to best suit your system and needs. Different, driver configurations, driver tube types, output tube types, and triode connection, all can be used and are explained. This is an amp you won't get bored with. We are very proud to offer you this amp, and thanks to our customers, whose feedback and suggestions, helped make this happen, and we look forward hear about how you customized, and what tweaks you have done to your amp.
We now offer the kit "without a driver board option", in case our driver board doesn't suit your needs, or you have an old original board you want to press back into service.
2010 Millennium XLII, #9399
Sildes: 2 - Rear Super Slide (Prevost)
MILLENNIUM UNIT #9399
2010 XLII S2 REAR SUPERSLIDE
CHASSIS SPECS
GENERAL
LENGTH, OVERALL 45.0 FT.
WHEELBASE 314.0 IN.
WIDTH, OVERALL 102.0 IN.
HEIGHT, OVERALL 140.0 IN.
FLOOR-TO-CEILING HEIGHT 86.0 IN
CABIN FLOOR HEIGHT (FROM THE GROUND) 48.5 IN.
USABLE CABIN FLAT FLOOR LENGTH
(NO WHEEL HUMPS) 34.75 FT.
UNDER-FLOOR STORAGE (WITH DRIVER A/C) 407 CU.FT.
UNDER-FLOOR COMPARTMENTS DOORS WIDTH 60.5 IN.
ENTRANCE DOOR WIDTH 30.0 IN.
STEP HEIGHT 15.0 IN.
GROUND CLEARANCE 11.0 IN.
OVERHANG (INCL. BUMPER) — FRONT 68.75 IN.
OVERHANG (INCL. BUMPER) — REAR 107.75 IN.
TURNING RADIUS 41.8 FT.
BODY CONSTRUCTION (STRUCTURE) INTEGRAL
BODY CONSTRUCTION (STAINLESS / RUST PROTECTED MILD STEEL)
(OUTER SHELL – UP TO WINDOW LEVEL) STAINLESS STEEL
BODY CONSTRUCTION (SUB-FRAME) LOW-ALLOY/HIGH TENSILE STEEL
FUEL TANK (US GALS.) 208
FUEL FILLER NECKS ON BOTH SIDES
GROSS VEHICLE WEIGHT RATING (LBS.) 54,500
AXLE DESIGN LOAD CAPACITY (LBS.) – FRONT 18,000
AXLE DESIGN LOAD CAPACITY (LBS.) – DRIVE 22,500
AXLE DESIGN LOAD CAPACITY (LBS.) – TAG 14,000
WET WEIGHT - WITH DRIVER A/C (LBS.) 31,150
WET WEIGHT - WITH FULL A/C (LBS.) 31,850
DRIVER-ONLY A/C
2
TIRES AND WHEELS
MICHELIN 315/80R22.5 (DRIVE)
MICHELIN 365/70R22.5 (FRONT & TAG)
ALCOA ALUMINUM RIMS
22.5 X 10.5 IN. (FRONT & TAG AXLES)
22.5 X 9 IN. (DRIVE AXLE)
POWERTRAIN
DETROIT DIESEL SERIES 60 W/EGR 14L-515HP (5-YR. WARRANTY)
3-SPEED ENGINE COOLING FAN
ALLISON WORLD B500, 6-SPEED AUTO. TRANS. (5-YR. WARRANTY)
CRUISE CONTROL
ALLISON HYDRAULIC TRANSMISSION RETARDER
PNEUMATIC DRIVE BELTS TENSIONERS
TURBO BOOST GAUGE
ENGINE COOLANT FILTER
RACOR FUEL FILTER
BRAKES
ALL-DISC BRAKES WITH ABS
FRONT WHEELS BRAKE BOOSTERS TYPE 27
DRIVE WHEELS BRAKE BOOSTERS TYPE 24-24
TAG WHEELS BRAKE BOOSTERS TYPE 14-16
PARKING BRAKE BOOSTER ON TAG WHEELS
STEERING AND SUSPENSION
PNEUMATIC TILT & TELESCOPIC STEERING WHEEL
ZF SERVOCOMTRONIC VARIABLE POWER STEERING
INDEPENDENT SUSPENSION SYSTEM
STEERING SLAVE CYLINDER
FRONT & DRIVE AXLES SWAY BARS
INTEGRATED PNEUMATIC LEVEL-LOW LEVELING SYSTEM
LIFTABLE TAG AXLE
3
ELECTRICAL SYSTEM
FULLY MULTIPLEXED ELECTRICAL SYSTEM
12-VOLT EXT. LIGHTING
24-VOLT MAIN SYSTEM
SHELL ALTERNATOR (DRIVER A/C) 140 AMPS
FACTORY-INSTALLED OPTIONAL EQUIPMENT
FACTORY SLIDE-OUTS (ALL-ELECTRICAL) 2 SLIDES W/ REAR SUPERSLIDE
ROADSIDE FRONT
ROADSIDE REAR (SUPERSLIDE)
KIDDE DUAL SPECTRUM FIRE PROTECTION SYSTEM
HIGH-INTENSITY HEADLIGHTS
FOG LIGHTS
RAMCO REMOTE HEATED REARVIEW MIRRORS
CENTRAL ELECTRICAL DOOR LOCKING SYSTEM
REMOTE KEYLESS LOCKING (ENTRANCE DOOR)
REMOTE KEYLESS LOCKING (COMPARTMENT DOORS)
TRAILER HITCH PACKAGE (20,000 LBS.)
LOW FUEL WARNING LIGHT
COURTESY LIGHTS BLINKER SWITCH
ENGINE AND COMPARTMENTS LIGHTING
ISRI AIR ADJUSTABLE (6800)
FACTORY EXTERIOR PAINT W/SPECIAL EFFECT
BACK-UP SOUND ALARM
HEADLAMPS CLEANING
GENERAL
XENON HEADLAMPS
AIR POCKET DOORS WITH ROD LESS CYLINDERS
FLEXFOIL INSULATION ON INTERIOR OF SHELL
MARINE GRADE ELECTRICAL WIRE
LUTRON HOMEWORKS ILLUMINATION CONTROL SYSTEM WITH REMOTE DIAGNOSTICS OPTION
5 CRESTRON TOUCH SCREEN CONTROLLERS LINKED TO LUTRON HOMEWORKS OPERATING SYSTEM WITH IPHONE
/ I-TOUCH AND LAPTOP CONTROLS
FULLTIME INTERNET WI-FI NETWORK CONNECTION
4
RUSSOUND CAV6.6 SIX-ZONE
A/V PROCESSOR
DVD/VCR RECORDERS WITH DIGITAL TUNERS
(2) SATELLITE DVR RECEIVERS
(1) ESCIENT MEDIA SERVER WITH 500GB STORAGE
CEILING LED ROPE LIGHTING THROUGHOUT
MARINE GRADE BRASS LED OVERHEAD LIGHTS
MULTI-ZONE AQUA HOT HEATING SYSTEM WITH DUAL 1500 WATT ELECTRIC ELEMENTS
INTERIOR AND EXTERIOR LED LIGHTING
MOTORIZED HUNTER DOUGLAS CELL SHADES
FRONT AND REAR CUSTOM SPOILERS
STATEROOM
MAIN VANITY
32” FLAT SCREEN LCD MONITOR
AIPHONE INTERCOM WITH BUILT IN MONITOR TO VIEW ENTRY DOOR
MASTER LIGHTING SWITCH ON THE REAR NIGHTSTAND AND FRONT
ELECTRIC BLACK-OUT SHADES
PRE-WIRE FOR CEILING FAN
CARBON MONOXIDE DETECTOR
SMOKE DETECTOR
SPECIAL LIGHTWEIGHT SOUND INSULATION PACKAGE
FABRICA CARPETING WITH HIGH DENSITY PADDING
TEMPER-PEDIC KING SIZED ADJUSTABLE BED
LEFT AND RIGHT END TABLES AT HEAD OF THE BED
DRAWER BENEATH THE FOOT OF THE BED
MIRRORED CEILING
CUSTOM BEDDING
CARPET LINED WARDROBE CABINETS WITH CEDAR CEILINGS
LAVATORY
120-VOLT VANITY LIGHTING
120-VOLT OUTLET IN BOTTOM AND INSIDE UPPER VANITY CABINET
FANTASTIC VENT OVER SHOWER AREA WITH COVER
FANTASTIC VENT WITH COVER IN COMMODE ROOM
5
AQUAHOT HEATER
GRANITE FLOORING
GRANITE COUNTERTOPS
SHAMPOO AND SOAP HOLDER
LOWER VANITY CABINET WITH FLUSH DOORS AND DRAWERS
HEADHUNTER ELONGATED COMMODE WITH HOMETECH BIDET
CUSTOM CURVED SHOWER
MEDICINE CABINET
GALLEY
GE SIDE BY SIDE FULL SIZED REFRIGERATOR WITH 23.3 CUBIC FEET OF STORAGE
BREW EXPRESS COFFEE MAKER (RECESSED AND HARD PLUMBED)
TWO BURNER COOK TOP
STACKED BOSCH WASHER AND DRYER UNITS
MARINE-GRADE POWER PANEL
SHARP INSIGHT PRO MICROWAVE DRAWER
AQUAHOT HEATERS CENTRAL VACUUM
GRANITE STARBURST MEDALLION INLAY IN PORCELAIN FLOOR
LOUNGE BAR WITH ELECTRIC LIFT COMPUTER/TV/CRESTRON TOUCH SCREEN,
WIRELESS KEYBOARD/MOUSE
SMOKE DETECTOR
AUTOMATIC INTERIOR LED CABINET LIGHTS
GRANITE FLOORING WITH ELECTRIC FLOOR HEAT
FRANKE BEECH SINK SYSTEM WITH ACCESSORIES
SINGLE HANDLE FAUCET WITH BUILT-IN SPRAYER
UNDER COUNTER PULL OUT TRASH CONTAINER
FULL SIZED PANTRY
LIGHTWEIGHT CABINET CONSTRUCTION WITH WOOD VENEER AND POLYESTER FINISH
FISCHER PAYKEL DISH DRAWER
EXTENDABLE ISLAND
FRONT LOUNGE
PRE-WIRE FOR FAX IN THE C/S LOWER CABINET (120-VOLT OUTLET, CELLULAR, AND LANDLINE TELEPHONE
JACKS
FIBERGLASS WINDOW SILLS
MOTORIZED HUNTER DOUGLAS CELL SHADES
6
SOFA (ELECTRIC FRAME) ON DRIVER’S SIDE WITH STORAGE BELOW
42” DROP DOWN LCD
PILOT AND CO-PILOT SEATING AREA
TIRE PRESSURE MONITORING SYSTEM
110 VAC AND 12 VDC OUTLETS
KENWOOD/GARMIN AM/FM/DVD/GPS/MP3
MAPPING SYSTEM
15” ADJUSTABLE MONITOR AT PASSENGER SEAT
COLOR LCD BACKUP MONITOR WITH I-CONTROL FUNCTION
CB RADIO
MAP LIGHTS FOR CO-PILOT AND DRIVER
MASTER CONTROL SWITCHES
ELECTRIC PRIVACY SHADES
MAP STORAGE AND DRINK HOLDER
CARPETING BELOW THE DRIVER’S SEAT
ISRINGHAUSEN AIR RIDE DRIVER’S SEAT
CUSTOM WOOD DASH PANELS
CUSTOM ENTRY DOOR DESIGN
SLIDE STEPWELL COVER
OPEN SHOE STORAGE IN STEPWELL
CUSTOM SMART STEERING WHEEL
VILLA 28” WIDE CO-PILOT SEAT WITH THE FOLLOWING OPTIONS: RECLINE, FOOTREST, ELECTRIC SIX WAY
POWER BASE, MASSAGE, HEATING, MAP STORAGE AND DRINK HOLDER
EXTERIOR GENERAL EQUIPMENT
UPPER AND LOWER LUMINESCENT BLUE ROPE LIGHTING
CB ANTENNA
CELLULAR PHONE ANTENNA
AM/FM ANTENNA
GPS ANTENNA
GLOMEX SAUCER-TYPE AMPLIFIED TV ANTENNA
INMOTION TRACSTAR SATELLITE DISH WITH (2) DVR RECEIVERS
COLOR DIRECTIONAL BACKUP CAMERA ON REAR OF COACH
7
AIPHONE DOORBELL / CAMERA NEXT TO ENTRANCE DOOR
4 FULL LENGTH ROOF MOUNTED AWNINGS WITH WIND MOTION SENSORS
(6) LED CURB LIGHTS
4 HIGH POWERED AIR HORNS IN NOSE FOR WIND NOISE REDUCTION
HWH ONE-TOUCH LEVELING SYSTEM
GENERATOR ROOF EXHAUST
CUSTOM PAINTED REAR WINDOW GRAPHICS
AQUAHOT ROOF EXHAUST
SIDE MARKER LIGHT TRIM
CHROME PLATED HEATED SIDE MIRRORS
LICENSE PLATE HOUSING-POLISHED S/S
MICROWAVE VENT
LED LIGHTS ON TOP AND BOTTOM OF COACH
BAY COMPARTMENTS
1ST BAY 101.75 CUBIC FEET OF STORAGE (CURBSIDE OR ROADSIDE)
(8) 8D MARINE DEEP CYCLE BATTERIES
(4) 3500 WATT OUTBACK INVERTERS
100 AMP VANNER BATTERY EQUALIZER
BATTERY TIE-IN RELAY (CONNECTING HOUSE BATTERIES TO CHASSIS BATTERIES AND CHASSIS BATTERIES
TO HOUSE BATTERIES)
(4) BATTERY DISCONNECT SWITCHES
GLENDINNING ELECTRIC REEL FOR SHORELINE CORD (WITH WIRELESS REMOTE)
SHORELINE CORD (60’)
ADAPTORS FOR SHORELINE FOR 30A AND 20A SERVICE
SHORELINE REVERSE POLARITY MONITOR
TELEPHONE AND CABLE TV CONNECTORS NEAR SHORELINE REEL
COAX CORD
AUXILIARY AIR COMPRESSOR WITH TWO SERVICE AIR CONNECTIONS (D/S AND C/S)
COSMETIC PANELS TO COVER ELECTRICAL EQUIPMENT
120 VOLT GFCI RECEPTACLE IN THE PLUMBING COMPARTMENT
330 AMP AIR COOLED ALTERNATOR FOR HOUSE SYSTEM
140 AMP AIR COOLED ALTERNATOR FOR CHASSIS SYSTEM
8
HVAC
AQUAHOT HEATER WITH THERMOSTATS IN PLUMBING COMPARTMENT
(4) ROOFTOP A/C UNITS LOW PROFILE (15,000 BTU’S EACH)
120 VAC CERAMIC HEATER IN FIRST, SECOND AND PLUMBING BAYS
ELECTRIC FLOOR HEAT
GENERATOR
POWERTECH ULTIMATE 17.5 KW TURBO GENERATOR
GENERATOR AUTO-START FEATURE (CONTROLLED BY LUTRON AND CRESTRON SYSTEMS)
GENERATOR BATTERY BOOST CIRCUITRY
GENERATOR PRIMARY FUEL FILTER
START/STOP SWITCHES AT THE FOLLOWING LOCATIONS:
* GENERATOR
* DRIVER’S AREA POWER PANEL
* INVERTER PANEL
* CRESTRON TOUCHSCREENS
* ANY REMOTE ACCESS COMPUTER
ROOF MOUNTED GENERATOR EXHAUST
ROOF MOUNTED COOLING SYSTEM FOR GENERATOR
FOUR INVERTER BYPASS SWITCHES
PLUMBING
AQUAHOT WATER HEATING SYSTEM WITH (2) 1500 WATT ELECTRIC HEATING ELEMENTS
HEADHUNTER 120 VOLT WATER PUMP
WATER PRESSURE REGULATOR
CARTRIDGE WATER FILTER SYSTEM
2 HOSE CARRIERS FOR DUMPING HOLDING TANKS
PAPER TOWEL AND SOAP DISPENSER
PLASTIC PLUMBING WITH FLEXIBLE LINES FOR VIBRATION ISOLATION
MANIFOLD SYSTEM WITH SHUT OFF VALVES TO ALL PLUMBING EQUIPMENT. (NO SHUTOFFS INSIDE THE
COACH INTERIOR; CONTINUOUS LINES RUN FROM THE MANIFOLD TO THE FIXTURE)
STAINLESS STEEL COVER
POLYPROPYLENE FRESH WATER TANK WITH CLEAN OUT (180 GALLONS)
POLYPROPYLENE GREY WATER TANK WITH CLEAN OUT (80 GALLONS)
9
POLYPROPYLENE BLACK WATER TANK WITH CLEAN OUT (80 GALLONS)
ELECTRIC OPERATED DUMP VALVES
TANK LEVEL MONITOR GAUGES AT ALL CRESTRON PANELS
CITY WATER INLET WITH MILLENNIUM AUTOMATIC FRESH WATER FILL SYSTEM
GRAVITY FILL FOR FRESH WATER TANK
MANUAL TANK CLEAN OUT VALVES FOR GREY AND BLACK TANK
HOSE BIB
STAINLESS STEEL COSMETIC PANELS TO COVER PLUMBING EQUIPMENT
BUILT IN PRESSURE WASHER WITH 75’ LINE ON REEL (1450 PSI)
BUILT IN DEIONIZER WITH BYPASS FOR SPOT FREE RINSE MODE
MACERATOR WITH ELECTRIC HOSE REEL
ABS PLASTIC UNDER THE PLUMBING EQUIPMENT
BAY ENTERTAINMENT CENTER
ENTERTAINMENT CABINET WITH STORAGE DRAWERS
REFRIGERATOR
BOSE WAVE AM/FM/CD/MP3 STEREO
42” LCD FLAT SCREEN MONITOR ON PULLOUT ADJUSTABLE SLIDE SYSTEM
(4) ZIP DEE LAWN CHAIRS
KENYON CUSTOM SMOKELESS INFRA RED GRILL
無印良品 ポリプロピレン コットン・綿棒ケース
MUJI polypropylene cotton swab Case
私も5x3情報カード入れに使っています。
最初は小さなトレーにブランクカードを入れていましたが、滑って取り出し
にくかったので、縦置きに変えました。
5x3サイズにジャストフィットのこのケースはすごく便利。
This book, by eco-pragmatists McDonough & Braungart, brings not only a fresh approach to environmental concerns and action, but brings a still new concept: the whole book is made of a synthetic paper. As a matter of fact, it is printed on Polypropylene sheets, a fully recyclable material that can be industrially converted in other books or any other objects. The book is very clever and shows us a complex view of what a sound eco-society should be, far from eco-bla-bla-bla we so often read around. I'd recommend this for all of you.
This book can be find very cheaply on AbeBooks, here:
www.abebooks.com/servlet/SearchResults?isbn=0865475873&am...
The Holden Commodore (VK) is a mid-size car that was produced by the Australian subsidiary of General Motors, Holden, from 1984 to 1986. It was the first iteration of the first generation of this Australian made model and introduced the luxury variant, Holden Calais (VK) sedan.
Overview
The VK series was the first Commodore to have plastic (polypropylene) bumpers and introduced rear quarter windows for a six-window design (styled by Holden, but similar in appearance to the Opel Senator) as opposed to the four-window design on previous Commodore models. Apart from the bumpers and "glasshouse", other changes for the VK Commodore included a front grille redesign and revamped dashboard instrumentation that included a full digital (vacuum fluorescent display) arrangement for the new luxury version, the Calais.
The exterior of the VK Commodore was also updated with a more modern and aggressive appearance. This included a new grill design very different from previous models, with three bold strips rather than a metallic grill, the now plastic front and rear bumpers/skirts replacing the obsolete metal guards, and a new rear tail light assembly, whereby they now spread from one side to another with a black panel in between. This all added up to a more prominent, sharper look for the 1980s. Changes were also made to the interior whereupon the panel of instruments were now square-shaped rather than the more conventional circular layout. In total, 135,705 VK Commodores were built.
Models
The VK range introduced new names for the specification levels, with Executive now a stand-alone nameplate alongside the base model SL. The Commodore Executive was basically a Commodore SL appointed with automatic transmission and power steering, and was aimed at capturing the fleet market, a market that Holden had lost its share in when the smaller bodied Commodore originally replaced the Kingswood. Also introduced was the Commodore Berlina (replacing the SL/X) and the Holden Calais (replacing the Commodore SL/E). The station wagon body style was available in SL, Executive or Berlina variants only, however the limited edition Vacationer name plate was also continued over for a period from the VH Commodore. Other variants produced were the Commodore SS sedan which featured its own specification – courtesy of HDT – high-performance 4.9-litre V8, and the limited edition – available only through affiliated HDT Holden dealers – LM 5000, SS Group 3, SS Group A (502 made) and Calais Director sedans.
Engines
Engine choices (not necessarily available on all cars in the VK range) were two versions of a 5.0-litre 308 cui Holden V8 engine (replaced by the 4.9-litre 304 cui V8 when Group A rules entered Australian motorsport in 1985) and two versions of a 3.3-litre inline 'black' Straight-6 engine (essentially a refined 'blue' I6 with slight increases in power and efficiency), the latter of which was available with either a carburetor or fuel injection. The 3.3 EST carburetor engine was standard equipment for most VK Commodores, with the 3.3 EFI injection engine nominated as standard equipment for the Calais sedan.
The 2.85-litre six-cylinder and the 4.2-litre V8, mainstays of the previous Commodore ranges were dropped, hence unavailable to the VK, however Holden's 1.9L Starfire 4-cylinder unit was offered on New Zealand market VK models.
SS Group A
The Commodore SS Group A was heavily modified by Holden's official performance tuner, originally the Holden Dealer Team. The SS Group A existed primarily as a homologation special, created specifically so a racing optimised version of the Commodore could be utilised for Group A touring car motor racing. The regulations set down by the international governing body FISA for Group A motor racing specified that a minimum of 500 cars were to be built to a certain specification prior to said vehicle being allowed to compete. Group A regulations governed many touring car series at the 1980s and 1990s including series in Australia, New Zealand, Great Britain, Japan, Italy, Germany and the European Touring Car Championship as well as the one-off 1987 World Touring Car Championship as well as significant races like the Bathurst 1000, Spa 24 Hours and the RAC Tourist Trophy. The SS Group A model run ran from 1985 until 1992. The four models have since become highly collectible amongst Holden and performance enthusiasts.
Unique amongst all products produced by both the Holden Dealer Team and Holden Special Vehicles, these cars were referred to as Holdens, rather than as HDTs or HSVs.
As the first model to be produced (1985 – February 1986) represented Holden's increasing efforts in Group A racing. Available only in blue associated with the corporate colours of the Holden Dealer Team's principle sponsor Mobil, which gave rise to the cars nickname, the "Blue Meanie". Production began in early 1985, but part supply problems saw the HDT fail to build the required number of 500 and it missed the 1 August deadline for it to be eligible for racing that year. Production still continued and the VK SS Group A was available for motor racing from 1 January 1986. 502 cars were available only through Holden Dealer Team-affiliated Holden dealerships.
Visually the VK Group A SS had the addition of a rear spoiler, larger front air dam and a more aggressive front grill over the standard VK Commodore. Other changes included a double row timing chain (eliminating the car's inherent weakness of 1985, a single row chain), as well as stronger conrods and suspension mountings.
Power for the road going Group A SS with its 4.9 litre engine was rated at 196 kW (263 hp) at 5,200 rpm, with a top speed of 215 km/h (134 mph). Transmission options were M21 4-Speed manual, or T5 5-Speed (optional). The car was assembled at Dandenong, Victoria (Holden) and modified at Port Melbourne, Victoria (HDT).
[Text from Wikipedia]
en.wikipedia.org/wiki/Holden_Commodore_%28VK%29
This miniland-scale Lego Holden VK Commodore SS Group-A 'Blue Meanie' has been created for Flickr LUGNuts' 91st Build Challenge, - "Anger Management", - all about cars with some link to being angry.
MILLENNIUM UNIT #9597
2011 XLII S2
CHASSIS SPECS
GENERAL
LENGTH, OVERALL 45.0 FT.
WHEELBASE 314.0 IN.
WIDTH, OVERALL 102.0 IN.
HEIGHT, OVERALL 140.0 IN.
FLOOR-TO-CEILING HEIGHT 86.0 IN
CABIN FLOOR HEIGHT (FROM THE GROUND) 48.5 IN.
USABLE CABIN FLAT FLOOR LENGTH
(NO WHEEL HUMPS) 34.75 FT.
UNDER-FLOOR STORAGE (WITH DRIVER A/C) 407 CU.FT.
UNDER-FLOOR COMPARTMENTS DOORS WIDTH 60.5 IN.
ENTRANCE DOOR WIDTH 30.0 IN.
STEP HEIGHT 15.0 IN.
GROUND CLEARANCE 11.0 IN.
OVERHANG (INCL. BUMPER) — FRONT 68.75 IN.
OVERHANG (INCL. BUMPER) — REAR 107.75 IN.
TURNING RADIUS 41.8 FT.
BODY CONSTRUCTION (STRUCTURE) INTEGRAL
BODY CONSTRUCTION (STAINLESS / RUST PROTECTED MILD STEEL)
(OUTER SHELL – UP TO WINDOW LEVEL) STAINLESS STEEL
BODY CONSTRUCTION (SUB-FRAME) LOW-ALLOY/HIGH TENSILE STEEL
FUEL TANK (US GALS.) 208
FUEL FILLER NECKS ON BOTH SIDES
GROSS VEHICLE WEIGHT RATING (LBS.) 54,500
AXLE DESIGN LOAD CAPACITY (LBS.) – FRONT 18,000
AXLE DESIGN LOAD CAPACITY (LBS.) – DRIVE 22,500
AXLE DESIGN LOAD CAPACITY (LBS.) – TAG 14,000
2
WET WEIGHT - WITH DRIVER A/C (LBS.) 31,150
WET WEIGHT - WITH FULL A/C (LBS.) 31,850
DRIVER-ONLY A/C
TIRES AND WHEELS
MICHELIN 315/80R22.5 (DRIVE)
MICHELIN 365/70R22.5 (FRONT & TAG)
ALCOA ALUMINUM RIMS
22.5 X 10.5 IN. (FRONT & TAG AXLES)
22.5 X 9 IN. (DRIVE AXLE)
POWERTRAIN
DETROIT DIESEL SERIES 60 W/EGR 14L-515HP (5-YR. WARRANTY)
3-SPEED ENGINE COOLING FAN
ALLISON WORLD B500, 6-SPEED AUTO. TRANS. (5-YR. WARRANTY)
CRUISE CONTROL
ALLISON HYDRAULIC TRANSMISSION RETARDER
PNEUMATIC DRIVE BELTS TENSIONERS
TURBO BOOST GAUGE
ENGINE COOLANT FILTER
RACOR FUEL FILTER
BRAKES
ALL-DISC BRAKES WITH ABS
FRONT WHEELS BRAKE BOOSTERS TYPE 27
DRIVE WHEELS BRAKE BOOSTERS TYPE 24-24
TAG WHEELS BRAKE BOOSTERS TYPE 14-16
PARKING BRAKE BOOSTER ON TAG WHEELS
STEERING AND SUSPENSION
PNEUMATIC TILT & TELESCOPIC STEERING WHEEL
ZF SERVOCOMTRONIC VARIABLE POWER STEERING
3
INDEPENDENT SUSPENSION SYSTEM
STEERING SLAVE CYLINDER
FRONT & DRIVE AXLES SWAY BARS
INTEGRATED PNEUMATIC LEVEL-LOW LEVELING SYSTEM
LIFTABLE TAG AXLE
ELECTRICAL SYSTEM
FULLY MULTIPLEXED ELECTRICAL SYSTEM
12-VOLT EXT. LIGHTING
24-VOLT MAIN SYSTEM
SHELL ALTERNATOR (DRIVER A/C) 140 AMPS
FACTORY-INSTALLED OPTIONAL EQUIPMENT
FACTORY SLIDE-OUTS (ALL-ELECTRICAL) 2 SLIDES
KIDDE DUAL SPECTRUM FIRE PROTECTION SYSTEM
HIGH-INTENSITY HEADLIGHTS
FOG LIGHTS
RAMCO REMOTE HEATED REARVIEW MIRRORS
CENTRAL ELECTRICAL DOOR LOCKING SYSTEM
REMOTE KEYLESS LOCKING (ENTRANCE DOOR)
REMOTE KEYLESS LOCKING (COMPARTMENT DOORS)
TRAILER HITCH PACKAGE (20,000 LBS.)
LOW FUEL WARNING LIGHT
COURTESY LIGHTS BLINKER SWITCH
ENGINE AND COMPARTMENTS LIGHTING
ISRI AIR ADJUSTABLE (6800)
FACTORY EXTERIOR PAINT W/SPECIAL EFFECT
BACK-UP SOUND ALARM
HEADLAMPS CLEANING
GENERAL
XENON HEADLAMPS
AIR POCKET DOORS WITH ROD LESS CYLINDERS
FLEXFOIL INSULATION ON INTERIOR OF SHELL
4
MARINE GRADE ELECTRICAL WIRE
LUTRON HOMEWORKS ILLUMINATION CONTROL SYSTEM WITH REMOTE DIAGNOSTICS OPTION
5 CRESTRON TOUCH SCREEN CONTROLLERS LINKED TO LUTRON HOMEWORKS OPERATING SYSTEM WITH IPHONE
/ I-TOUCH AND LAPTOP CONTROLS
FULLTIME INTERNET WI-FI NETWORK CONNECTION
RUSSOUND CAV6.6 SIX-ZONE
A/V PROCESSOR
DVD/VCR RECORDERS WITH DIGITAL TUNERS
(2) SATELLITE DVR RECEIVERS
CEILING LED ROPE LIGHTING THROUGHOUT
MARINE GRADE BRASS LED OVERHEAD LIGHTS
MULTI-ZONE AQUA HOT HEATING SYSTEM WITH DUAL 1500 WATT ELECTRIC ELEMENTS
INTERIOR AND EXTERIOR LED LIGHTING
MOTORIZED HUNTER DOUGLAS CELL SHADES
FRONT AND REAR CUSTOM SPOILERS
STATEROOM
MAIN VANITY
32” FLAT SCREEN LED MONITOR
AIPHONE INTERCOM WITH BUILT IN MONITOR TO VIEW ENTRY DOOR
MASTER LIGHTING SWITCH ON THE REAR NIGHTSTAND AND FRONT
ELECTRIC BLACK-OUT SHADES
PRE-WIRE FOR CEILING FAN
CARBON MONOXIDE DETECTOR
SMOKE DETECTOR
SPECIAL LIGHTWEIGHT SOUND INSULATION PACKAGE
FABRICA CARPETING WITH HIGH DENSITY PADDING
TEMPER-PEDIC KING SIZED ADJUSTABLE BED
LEFT AND RIGHT END TABLES AT HEAD OF THE BED
DRAWER BENEATH THE FOOT OF THE BED
MIRRORED CEILING
CUSTOM BEDDING
5
CARPET LINED WARDROBE CABINETS WITH CEDAR CEILINGS
LAVATORY
120-VOLT VANITY LIGHTING
120-VOLT OUTLET IN BOTTOM AND INSIDE UPPER VANITY CABINET
FANTASTIC VENT OVER SHOWER AREA WITH COVER
FANTASTIC VENT WITH COVER IN COMMODE ROOM
AQUAHOT HEATER
GRANITE FLOORING
GRANITE COUNTERTOPS
SHAMPOO AND SOAP HOLDER
LOWER VANITY CABINET WITH FLUSH DOORS AND DRAWERS
HEADHUNTER ELONGATED COMMODE WITH HOMETECH BIDET
CUSTOM CURVED SHOWER
MEDICINE CABINET
GALLEY
GE SIDE BY SIDE FULL SIZED REFRIGERATOR WITH 23.3 CUBIC FEET OF STORAGE
BREW EXPRESS COFFEE MAKER (RECESSED AND HARD PLUMBED)
TWO BURNER COOK TOP
STACKED BOSCH WASHER AND DRYER UNITS
MARINE-GRADE POWER PANEL
SHARP INSIGHT PRO MICROWAVE DRAWER
AQUAHOT HEATERS CENTRAL VACUUM
LOUNGE BAR WITH ELECTRIC LIFT COMPUTER/TV/CRESTRON TOUCH SCREEN,
WIRELESS KEYBOARD/MOUSE
SMOKE DETECTOR
AUTOMATIC INTERIOR LED CABINET LIGHTS
GRANITE FLOORING WITH ELECTRIC FLOOR HEAT
FRANKE BEECH SINK SYSTEM WITH ACCESSORIES
SINGLE HANDLE FAUCET WITH BUILT-IN SPRAYER
UNDER COUNTER PULL OUT TRASH CONTAINER
FULL SIZED PANTRY
LIGHTWEIGHT CABINET CONSTRUCTION WITH WOOD VENEER AND POLYESTER FINISH
6
FISCHER PAYKEL DISH DRAWER
EXTENDABLE ISLAND
FRONT LOUNGE
PRE-WIRE FOR FAX IN THE C/S LOWER CABINET (120-VOLT OUTLET, CELLULAR, AND LANDLINE TELEPHONE
JACKS
FIBERGLASS WINDOW SILLS
MOTORIZED HUNTER DOUGLAS CELL SHADES
SOFA (ELECTRIC FRAME) ON DRIVER’S SIDE WITH STORAGE BELOW
42” DROP DOWN LED
PILOT AND CO-PILOT SEATING AREA
110 VAC AND 12 VDC OUTLETS
KENWOOD/GARMIN AM/FM/DVD/GPS/MP3
MAPPING SYSTEM
15” ADJUSTABLE MONITOR AT PASSENGER SEAT
COLOR LCD BACKUP MONITOR WITH I-CONTROL FUNCTION
CB RADIO
MAP LIGHTS FOR CO-PILOT AND DRIVER
MASTER CONTROL SWITCHES
ELECTRIC PRIVACY SHADES
MAP STORAGE AND DRINK HOLDER
CARPETING BELOW THE DRIVER’S SEAT
ISRINGHAUSEN AIR RIDE DRIVER’S SEAT
CUSTOM WOOD DASH PANELS
CUSTOM ENTRY DOOR DESIGN
SLIDE STEPWELL COVER
OPEN SHOE STORAGE IN STEPWELL
CUSTOM SMART STEERING WHEEL
VILLA 28” WIDE CO-PILOT SEAT WITH THE FOLLOWING OPTIONS: RECLINE, FOOTREST, ELECTRIC SIX WAY
POWER BASE, MASSAGE, HEATING, MAP STORAGE AND DRINK HOLDER
7
EXTERIOR GENERAL EQUIPMENT
UPPER AND LOWER LUMINESCENT BLUE ROPE LIGHTING
CB ANTENNA
CELLULAR PHONE ANTENNA
AM/FM ANTENNA
GPS ANTENNA
GLOMEX SAUCER-TYPE AMPLIFIED TV ANTENNA
INMOTION TRACSTAR SATELLITE DISH WITH (2) DVR RECEIVERS
COLOR DIRECTIONAL BACKUP CAMERA ON REAR OF COACH
AIPHONE DOORBELL / CAMERA NEXT TO ENTRANCE DOOR
4 FULL LENGTH ROOF MOUNTED AWNINGS WITH WIND MOTION SENSORS
(6) LED CURB LIGHTS
4 HIGH POWERED AIR HORNS IN NOSE FOR WIND NOISE REDUCTION
HWH ONE-TOUCH LEVELING SYSTEM
GENERATOR ROOF EXHAUST
CUSTOM PAINTED REAR WINDOW GRAPHICS
AQUAHOT ROOF EXHAUST
SIDE MARKER LIGHT TRIM
CHROME PLATED HEATED SIDE MIRRORS
LICENSE PLATE HOUSING-POLISHED S/S
MICROWAVE VENT
LED LIGHTS ON TOP AND BOTTOM OF COACH
BAY COMPARTMENTS
1ST BAY 101.75 CUBIC FEET OF STORAGE (CURBSIDE OR ROADSIDE)
(8) 8D MARINE DEEP CYCLE BATTERIES
(4) 3500 WATT OUTBACK INVERTERS
100 AMP VANNER BATTERY EQUALIZER
BATTERY TIE-IN RELAY (CONNECTING HOUSE BATTERIES TO CHASSIS BATTERIES AND CHASSIS BATTERIES TO
HOUSE BATTERIES)
8
(4) BATTERY DISCONNECT SWITCHES
GLENDINNING ELECTRIC REEL FOR SHORELINE CORD (WITH WIRELESS REMOTE)
SHORELINE CORD (60’)
ADAPTORS FOR SHORELINE FOR 30A AND 20A SERVICE
SHORELINE REVERSE POLARITY MONITOR
TELEPHONE AND CABLE TV CONNECTORS NEAR SHORELINE REEL
COAX CORD
AUXILIARY AIR COMPRESSOR WITH TWO SERVICE AIR CONNECTIONS (D/S AND C/S)
COSMETIC PANELS TO COVER ELECTRICAL EQUIPMENT
120 VOLT GFCI RECEPTACLE IN THE PLUMBING COMPARTMENT
330 AMP AIR COOLED ALTERNATOR FOR HOUSE SYSTEM
140 AMP AIR COOLED ALTERNATOR FOR CHASSIS SYSTEM
HVAC
AQUAHOT HEATER WITH THERMOSTATS IN PLUMBING COMPARTMENT
(4) ROOFTOP A/C UNITS LOW PROFILE (15,000 BTU’S EACH)
120 VAC CERAMIC HEATER IN FIRST, SECOND AND PLUMBING BAYS
ELECTRIC FLOOR HEAT
GENERATOR
POWERTECH ULTIMATE 17.5 KW TURBO GENERATOR
GENERATOR AUTO-START FEATURE (CONTROLLED BY LUTRON AND CRESTRON SYSTEMS)
GENERATOR BATTERY BOOST CIRCUITRY
GENERATOR PRIMARY FUEL FILTER
START/STOP SWITCHES AT THE FOLLOWING LOCATIONS:
* GENERATOR
* DRIVER’S AREA POWER PANEL
* INVERTER PANEL
* CRESTRON TOUCHSCREENS
* ANY REMOTE ACCESS COMPUTER
ROOF MOUNTED GENERATOR EXHAUST
ROOF MOUNTED COOLING SYSTEM FOR GENERATOR
FOUR INVERTER BYPASS SWITCHES
9
PLUMBING
AQUAHOT WATER HEATING SYSTEM WITH (2) 1500 WATT ELECTRIC HEATING ELEMENTS
HEADHUNTER 120 VOLT WATER PUMP
WATER PRESSURE REGULATOR
CARTRIDGE WATER FILTER SYSTEM
2 HOSE CARRIERS FOR DUMPING HOLDING TANKS
PAPER TOWEL AND SOAP DISPENSER
PLASTIC PLUMBING WITH FLEXIBLE LINES FOR VIBRATION ISOLATION
MANIFOLD SYSTEM WITH SHUT OFF VALVES TO ALL PLUMBING EQUIPMENT. (NO SHUTOFFS INSIDE THE
COACH INTERIOR; CONTINUOUS LINES RUN FROM THE MANIFOLD TO THE FIXTURE)
STAINLESS STEEL COVER
POLYPROPYLENE FRESH WATER TANK WITH CLEAN OUT (180 GALLONS)
POLYPROPYLENE GREY WATER TANK WITH CLEAN OUT (90 GALLONS)
POLYPROPYLENE BLACK WATER TANK WITH CLEAN OUT (90 GALLONS)
ELECTRIC OPERATED DUMP VALVES
TANK LEVEL MONITOR GAUGES AT ALL CRESTRON PANELS
CITY WATER INLET WITH MILLENNIUM AUTOMATIC FRESH WATER FILL SYSTEM
GRAVITY FILL FOR FRESH WATER TANK
MANUAL TANK CLEAN OUT VALVES FOR GREY AND BLACK TANK
HOSE BIB
STAINLESS STEEL COSMETIC PANELS TO COVER PLUMBING EQUIPMENT
BUILT IN PRESSURE WASHER WITH 75’ LINE ON REEL (1450 PSI)
BUILT IN DEIONIZER WITH BYPASS FOR SPOT FREE RINSE MODE
MACERATOR WITH ELECTRIC HOSE REEL
ABS PLASTIC UNDER THE PLUMBING EQUIPMENT
BAY ENTERTAINMENT CENTER
ENTERTAINMENT CABINET WITH STORAGE DRAWERS
REFRIGERATOR
BOSE WAVE AM/FM/CD/MP3 STEREO
42” LED FLAT SCREEN MONITOR ON PULLOUT ADJUSTABLE SLIDE SYSTEM
(4) ZIP DEE LAWN CHAIRS
KENYON CUSTOM SMOKELESS INFRA RED GRILL
2010 Millennium XLII, #9399
Sildes: 2 - Rear Super Slide (Prevost)
MILLENNIUM UNIT #9399
2010 XLII S2 REAR SUPERSLIDE
CHASSIS SPECS
GENERAL
LENGTH, OVERALL 45.0 FT.
WHEELBASE 314.0 IN.
WIDTH, OVERALL 102.0 IN.
HEIGHT, OVERALL 140.0 IN.
FLOOR-TO-CEILING HEIGHT 86.0 IN
CABIN FLOOR HEIGHT (FROM THE GROUND) 48.5 IN.
USABLE CABIN FLAT FLOOR LENGTH
(NO WHEEL HUMPS) 34.75 FT.
UNDER-FLOOR STORAGE (WITH DRIVER A/C) 407 CU.FT.
UNDER-FLOOR COMPARTMENTS DOORS WIDTH 60.5 IN.
ENTRANCE DOOR WIDTH 30.0 IN.
STEP HEIGHT 15.0 IN.
GROUND CLEARANCE 11.0 IN.
OVERHANG (INCL. BUMPER) — FRONT 68.75 IN.
OVERHANG (INCL. BUMPER) — REAR 107.75 IN.
TURNING RADIUS 41.8 FT.
BODY CONSTRUCTION (STRUCTURE) INTEGRAL
BODY CONSTRUCTION (STAINLESS / RUST PROTECTED MILD STEEL)
(OUTER SHELL – UP TO WINDOW LEVEL) STAINLESS STEEL
BODY CONSTRUCTION (SUB-FRAME) LOW-ALLOY/HIGH TENSILE STEEL
FUEL TANK (US GALS.) 208
FUEL FILLER NECKS ON BOTH SIDES
GROSS VEHICLE WEIGHT RATING (LBS.) 54,500
AXLE DESIGN LOAD CAPACITY (LBS.) – FRONT 18,000
AXLE DESIGN LOAD CAPACITY (LBS.) – DRIVE 22,500
AXLE DESIGN LOAD CAPACITY (LBS.) – TAG 14,000
WET WEIGHT - WITH DRIVER A/C (LBS.) 31,150
WET WEIGHT - WITH FULL A/C (LBS.) 31,850
DRIVER-ONLY A/C
2
TIRES AND WHEELS
MICHELIN 315/80R22.5 (DRIVE)
MICHELIN 365/70R22.5 (FRONT & TAG)
ALCOA ALUMINUM RIMS
22.5 X 10.5 IN. (FRONT & TAG AXLES)
22.5 X 9 IN. (DRIVE AXLE)
POWERTRAIN
DETROIT DIESEL SERIES 60 W/EGR 14L-515HP (5-YR. WARRANTY)
3-SPEED ENGINE COOLING FAN
ALLISON WORLD B500, 6-SPEED AUTO. TRANS. (5-YR. WARRANTY)
CRUISE CONTROL
ALLISON HYDRAULIC TRANSMISSION RETARDER
PNEUMATIC DRIVE BELTS TENSIONERS
TURBO BOOST GAUGE
ENGINE COOLANT FILTER
RACOR FUEL FILTER
BRAKES
ALL-DISC BRAKES WITH ABS
FRONT WHEELS BRAKE BOOSTERS TYPE 27
DRIVE WHEELS BRAKE BOOSTERS TYPE 24-24
TAG WHEELS BRAKE BOOSTERS TYPE 14-16
PARKING BRAKE BOOSTER ON TAG WHEELS
STEERING AND SUSPENSION
PNEUMATIC TILT & TELESCOPIC STEERING WHEEL
ZF SERVOCOMTRONIC VARIABLE POWER STEERING
INDEPENDENT SUSPENSION SYSTEM
STEERING SLAVE CYLINDER
FRONT & DRIVE AXLES SWAY BARS
INTEGRATED PNEUMATIC LEVEL-LOW LEVELING SYSTEM
LIFTABLE TAG AXLE
3
ELECTRICAL SYSTEM
FULLY MULTIPLEXED ELECTRICAL SYSTEM
12-VOLT EXT. LIGHTING
24-VOLT MAIN SYSTEM
SHELL ALTERNATOR (DRIVER A/C) 140 AMPS
FACTORY-INSTALLED OPTIONAL EQUIPMENT
FACTORY SLIDE-OUTS (ALL-ELECTRICAL) 2 SLIDES W/ REAR SUPERSLIDE
ROADSIDE FRONT
ROADSIDE REAR (SUPERSLIDE)
KIDDE DUAL SPECTRUM FIRE PROTECTION SYSTEM
HIGH-INTENSITY HEADLIGHTS
FOG LIGHTS
RAMCO REMOTE HEATED REARVIEW MIRRORS
CENTRAL ELECTRICAL DOOR LOCKING SYSTEM
REMOTE KEYLESS LOCKING (ENTRANCE DOOR)
REMOTE KEYLESS LOCKING (COMPARTMENT DOORS)
TRAILER HITCH PACKAGE (20,000 LBS.)
LOW FUEL WARNING LIGHT
COURTESY LIGHTS BLINKER SWITCH
ENGINE AND COMPARTMENTS LIGHTING
ISRI AIR ADJUSTABLE (6800)
FACTORY EXTERIOR PAINT W/SPECIAL EFFECT
BACK-UP SOUND ALARM
HEADLAMPS CLEANING
GENERAL
XENON HEADLAMPS
AIR POCKET DOORS WITH ROD LESS CYLINDERS
FLEXFOIL INSULATION ON INTERIOR OF SHELL
MARINE GRADE ELECTRICAL WIRE
LUTRON HOMEWORKS ILLUMINATION CONTROL SYSTEM WITH REMOTE DIAGNOSTICS OPTION
5 CRESTRON TOUCH SCREEN CONTROLLERS LINKED TO LUTRON HOMEWORKS OPERATING SYSTEM WITH IPHONE
/ I-TOUCH AND LAPTOP CONTROLS
FULLTIME INTERNET WI-FI NETWORK CONNECTION
4
RUSSOUND CAV6.6 SIX-ZONE
A/V PROCESSOR
DVD/VCR RECORDERS WITH DIGITAL TUNERS
(2) SATELLITE DVR RECEIVERS
(1) ESCIENT MEDIA SERVER WITH 500GB STORAGE
CEILING LED ROPE LIGHTING THROUGHOUT
MARINE GRADE BRASS LED OVERHEAD LIGHTS
MULTI-ZONE AQUA HOT HEATING SYSTEM WITH DUAL 1500 WATT ELECTRIC ELEMENTS
INTERIOR AND EXTERIOR LED LIGHTING
MOTORIZED HUNTER DOUGLAS CELL SHADES
FRONT AND REAR CUSTOM SPOILERS
STATEROOM
MAIN VANITY
32” FLAT SCREEN LCD MONITOR
AIPHONE INTERCOM WITH BUILT IN MONITOR TO VIEW ENTRY DOOR
MASTER LIGHTING SWITCH ON THE REAR NIGHTSTAND AND FRONT
ELECTRIC BLACK-OUT SHADES
PRE-WIRE FOR CEILING FAN
CARBON MONOXIDE DETECTOR
SMOKE DETECTOR
SPECIAL LIGHTWEIGHT SOUND INSULATION PACKAGE
FABRICA CARPETING WITH HIGH DENSITY PADDING
TEMPER-PEDIC KING SIZED ADJUSTABLE BED
LEFT AND RIGHT END TABLES AT HEAD OF THE BED
DRAWER BENEATH THE FOOT OF THE BED
MIRRORED CEILING
CUSTOM BEDDING
CARPET LINED WARDROBE CABINETS WITH CEDAR CEILINGS
LAVATORY
120-VOLT VANITY LIGHTING
120-VOLT OUTLET IN BOTTOM AND INSIDE UPPER VANITY CABINET
FANTASTIC VENT OVER SHOWER AREA WITH COVER
FANTASTIC VENT WITH COVER IN COMMODE ROOM
5
AQUAHOT HEATER
GRANITE FLOORING
GRANITE COUNTERTOPS
SHAMPOO AND SOAP HOLDER
LOWER VANITY CABINET WITH FLUSH DOORS AND DRAWERS
HEADHUNTER ELONGATED COMMODE WITH HOMETECH BIDET
CUSTOM CURVED SHOWER
MEDICINE CABINET
GALLEY
GE SIDE BY SIDE FULL SIZED REFRIGERATOR WITH 23.3 CUBIC FEET OF STORAGE
BREW EXPRESS COFFEE MAKER (RECESSED AND HARD PLUMBED)
TWO BURNER COOK TOP
STACKED BOSCH WASHER AND DRYER UNITS
MARINE-GRADE POWER PANEL
SHARP INSIGHT PRO MICROWAVE DRAWER
AQUAHOT HEATERS CENTRAL VACUUM
GRANITE STARBURST MEDALLION INLAY IN PORCELAIN FLOOR
LOUNGE BAR WITH ELECTRIC LIFT COMPUTER/TV/CRESTRON TOUCH SCREEN,
WIRELESS KEYBOARD/MOUSE
SMOKE DETECTOR
AUTOMATIC INTERIOR LED CABINET LIGHTS
GRANITE FLOORING WITH ELECTRIC FLOOR HEAT
FRANKE BEECH SINK SYSTEM WITH ACCESSORIES
SINGLE HANDLE FAUCET WITH BUILT-IN SPRAYER
UNDER COUNTER PULL OUT TRASH CONTAINER
FULL SIZED PANTRY
LIGHTWEIGHT CABINET CONSTRUCTION WITH WOOD VENEER AND POLYESTER FINISH
FISCHER PAYKEL DISH DRAWER
EXTENDABLE ISLAND
FRONT LOUNGE
PRE-WIRE FOR FAX IN THE C/S LOWER CABINET (120-VOLT OUTLET, CELLULAR, AND LANDLINE TELEPHONE
JACKS
FIBERGLASS WINDOW SILLS
MOTORIZED HUNTER DOUGLAS CELL SHADES
6
SOFA (ELECTRIC FRAME) ON DRIVER’S SIDE WITH STORAGE BELOW
42” DROP DOWN LCD
PILOT AND CO-PILOT SEATING AREA
TIRE PRESSURE MONITORING SYSTEM
110 VAC AND 12 VDC OUTLETS
KENWOOD/GARMIN AM/FM/DVD/GPS/MP3
MAPPING SYSTEM
15” ADJUSTABLE MONITOR AT PASSENGER SEAT
COLOR LCD BACKUP MONITOR WITH I-CONTROL FUNCTION
CB RADIO
MAP LIGHTS FOR CO-PILOT AND DRIVER
MASTER CONTROL SWITCHES
ELECTRIC PRIVACY SHADES
MAP STORAGE AND DRINK HOLDER
CARPETING BELOW THE DRIVER’S SEAT
ISRINGHAUSEN AIR RIDE DRIVER’S SEAT
CUSTOM WOOD DASH PANELS
CUSTOM ENTRY DOOR DESIGN
SLIDE STEPWELL COVER
OPEN SHOE STORAGE IN STEPWELL
CUSTOM SMART STEERING WHEEL
VILLA 28” WIDE CO-PILOT SEAT WITH THE FOLLOWING OPTIONS: RECLINE, FOOTREST, ELECTRIC SIX WAY
POWER BASE, MASSAGE, HEATING, MAP STORAGE AND DRINK HOLDER
EXTERIOR GENERAL EQUIPMENT
UPPER AND LOWER LUMINESCENT BLUE ROPE LIGHTING
CB ANTENNA
CELLULAR PHONE ANTENNA
AM/FM ANTENNA
GPS ANTENNA
GLOMEX SAUCER-TYPE AMPLIFIED TV ANTENNA
INMOTION TRACSTAR SATELLITE DISH WITH (2) DVR RECEIVERS
COLOR DIRECTIONAL BACKUP CAMERA ON REAR OF COACH
7
AIPHONE DOORBELL / CAMERA NEXT TO ENTRANCE DOOR
4 FULL LENGTH ROOF MOUNTED AWNINGS WITH WIND MOTION SENSORS
(6) LED CURB LIGHTS
4 HIGH POWERED AIR HORNS IN NOSE FOR WIND NOISE REDUCTION
HWH ONE-TOUCH LEVELING SYSTEM
GENERATOR ROOF EXHAUST
CUSTOM PAINTED REAR WINDOW GRAPHICS
AQUAHOT ROOF EXHAUST
SIDE MARKER LIGHT TRIM
CHROME PLATED HEATED SIDE MIRRORS
LICENSE PLATE HOUSING-POLISHED S/S
MICROWAVE VENT
LED LIGHTS ON TOP AND BOTTOM OF COACH
BAY COMPARTMENTS
1ST BAY 101.75 CUBIC FEET OF STORAGE (CURBSIDE OR ROADSIDE)
(8) 8D MARINE DEEP CYCLE BATTERIES
(4) 3500 WATT OUTBACK INVERTERS
100 AMP VANNER BATTERY EQUALIZER
BATTERY TIE-IN RELAY (CONNECTING HOUSE BATTERIES TO CHASSIS BATTERIES AND CHASSIS BATTERIES
TO HOUSE BATTERIES)
(4) BATTERY DISCONNECT SWITCHES
GLENDINNING ELECTRIC REEL FOR SHORELINE CORD (WITH WIRELESS REMOTE)
SHORELINE CORD (60’)
ADAPTORS FOR SHORELINE FOR 30A AND 20A SERVICE
SHORELINE REVERSE POLARITY MONITOR
TELEPHONE AND CABLE TV CONNECTORS NEAR SHORELINE REEL
COAX CORD
AUXILIARY AIR COMPRESSOR WITH TWO SERVICE AIR CONNECTIONS (D/S AND C/S)
COSMETIC PANELS TO COVER ELECTRICAL EQUIPMENT
120 VOLT GFCI RECEPTACLE IN THE PLUMBING COMPARTMENT
330 AMP AIR COOLED ALTERNATOR FOR HOUSE SYSTEM
140 AMP AIR COOLED ALTERNATOR FOR CHASSIS SYSTEM
8
HVAC
AQUAHOT HEATER WITH THERMOSTATS IN PLUMBING COMPARTMENT
(4) ROOFTOP A/C UNITS LOW PROFILE (15,000 BTU’S EACH)
120 VAC CERAMIC HEATER IN FIRST, SECOND AND PLUMBING BAYS
ELECTRIC FLOOR HEAT
GENERATOR
POWERTECH ULTIMATE 17.5 KW TURBO GENERATOR
GENERATOR AUTO-START FEATURE (CONTROLLED BY LUTRON AND CRESTRON SYSTEMS)
GENERATOR BATTERY BOOST CIRCUITRY
GENERATOR PRIMARY FUEL FILTER
START/STOP SWITCHES AT THE FOLLOWING LOCATIONS:
* GENERATOR
* DRIVER’S AREA POWER PANEL
* INVERTER PANEL
* CRESTRON TOUCHSCREENS
* ANY REMOTE ACCESS COMPUTER
ROOF MOUNTED GENERATOR EXHAUST
ROOF MOUNTED COOLING SYSTEM FOR GENERATOR
FOUR INVERTER BYPASS SWITCHES
PLUMBING
AQUAHOT WATER HEATING SYSTEM WITH (2) 1500 WATT ELECTRIC HEATING ELEMENTS
HEADHUNTER 120 VOLT WATER PUMP
WATER PRESSURE REGULATOR
CARTRIDGE WATER FILTER SYSTEM
2 HOSE CARRIERS FOR DUMPING HOLDING TANKS
PAPER TOWEL AND SOAP DISPENSER
PLASTIC PLUMBING WITH FLEXIBLE LINES FOR VIBRATION ISOLATION
MANIFOLD SYSTEM WITH SHUT OFF VALVES TO ALL PLUMBING EQUIPMENT. (NO SHUTOFFS INSIDE THE
COACH INTERIOR; CONTINUOUS LINES RUN FROM THE MANIFOLD TO THE FIXTURE)
STAINLESS STEEL COVER
POLYPROPYLENE FRESH WATER TANK WITH CLEAN OUT (180 GALLONS)
POLYPROPYLENE GREY WATER TANK WITH CLEAN OUT (80 GALLONS)
9
POLYPROPYLENE BLACK WATER TANK WITH CLEAN OUT (80 GALLONS)
ELECTRIC OPERATED DUMP VALVES
TANK LEVEL MONITOR GAUGES AT ALL CRESTRON PANELS
CITY WATER INLET WITH MILLENNIUM AUTOMATIC FRESH WATER FILL SYSTEM
GRAVITY FILL FOR FRESH WATER TANK
MANUAL TANK CLEAN OUT VALVES FOR GREY AND BLACK TANK
HOSE BIB
STAINLESS STEEL COSMETIC PANELS TO COVER PLUMBING EQUIPMENT
BUILT IN PRESSURE WASHER WITH 75’ LINE ON REEL (1450 PSI)
BUILT IN DEIONIZER WITH BYPASS FOR SPOT FREE RINSE MODE
MACERATOR WITH ELECTRIC HOSE REEL
ABS PLASTIC UNDER THE PLUMBING EQUIPMENT
BAY ENTERTAINMENT CENTER
ENTERTAINMENT CABINET WITH STORAGE DRAWERS
REFRIGERATOR
BOSE WAVE AM/FM/CD/MP3 STEREO
42” LCD FLAT SCREEN MONITOR ON PULLOUT ADJUSTABLE SLIDE SYSTEM
(4) ZIP DEE LAWN CHAIRS
KENYON CUSTOM SMOKELESS INFRA RED GRILL
MODEL2010 Millennium H-3 45, Triple Slide
LENGTH45.0 FT
TYPEPrevost
ENGINE TYPEDetroit Diesel Series
FUEL TYPEDiesel
SLIDESThree (3)
COLORCustom
STOCK NUM#1298
Fully Loaded
Triple slide w/ two rear slides
Rear bath
CHASSIS SPECS
GENERAL
LENGTH, OVERALL45.0 FT.
WHEELBASE316.12 IN.
WIDTH, OVERALL102.0 IN.
HEIGHT, OVERALL149.0 IN.
FLOOR-TO-CEILING HEIGHT 83.0 IN
CABIN FLOOR HEIGHT (FROM THE GROUND)63.0 IN.
USABLE CABIN FLAT FLOOR LENGTH
(NO WHEEL HUMPS)37.5 FT.
UNDER-FLOOR STORAGe 505 CU.FT.
UNDER-FLOOR COMPARTMENTS DOORS WIDTH 48.5 IN.
ENTRANCE DOOR WIDTH 27.0 IN.
STEP HEIGHT 14.0 IN.
GROUND CLEARANCE 11.0 IN.
OVERHANG (INCL. BUMPER) — FRONT 75.0 IN.
OVERHANG (INCL. BUMPER) — REAR107.0 IN.
TURNING RADIUS41.8 FT.
BODY CONSTRUCTION (STRUCTURE) INTEGRAL STAINLESS STEEL
BODY CONSTRUCTION (OUTER SHELL)FIBER COMPOSITE
BODY CONSTRUCTION (SUB-FRAME)LOW-ALLOY/HIGH TENSILE STEEL
FUEL TANK (US GALS.) 230
FUEL FILLER NECKS ON BOTH SIDES
GROSS VEHICLE WEIGHT RATING (LBS.)
54,500
AXLE DESIGN LOAD CAPACITY (LBS.) – FRONT
18,000
AXLE DESIGN LOAD CAPACITY (LBS.) – DRIVE
22,500
AXLE DESIGN LOAD CAPACITY (LBS.) – TAG
14,000
CHASSIS WET WEIGHT - WITH DRIVER A/C (LBS.) 31,140
A/C REFRIGERANT 134 A
TIRES AND WHEELS
MICHELIN 315/80R22.5 (DRIVE)MICHELIN 365/70R22.5 (FRONT & TAG)
ALCOA ALUMINUM RIMS
22.5 X 10.5 IN. (FRONT & TAG AXLES)22.5 X 9 IN. (DRIVE AXLE)
POWERTRAIN
DETROIT DIESEL SERIES 60 W/EGR 14L-515HP (5-YR. WARRANTY)
3-SPEED ENGINE COOLING FAN
ALLISON WORLD B500, 6-SPEED AUTO. TRANS. (5-YR. WARRANTY)
CRUISE CONTROL
ALLISON HYDRAULIC TRANSMISSION RETARDER
PNEUMATIC DRIVE BELTS TENSIONERS
TURBO BOOST GAUGE
ENGINE COOLANT FILTER
RACOR FUEL FILTER
BRAKES
ALL-DISC BRAKES WITH ABS AND ELECTRONIC STABILITY PROGRAM
FRONT WHEELS BRAKE BOOSTERSTYPE 27
DRIVE WHEELS BRAKE BOOSTERSTYPE 24-24
TAG WHEELS BRAKE BOOSTERSTYPE 14-16
PARKING BRAKE BOOSTER ON TAG WHEELS
STEERING AND SUSPENSION
SMART WHEEL
PNEUMATIC TILT & TELESCOPIC STEERING WHEEL
ZF SERVOCOM CONSTANT POWER STEERING
ZF SERVOCOMTRONIC VARIABLE POWER STEERING
INDEPENDENT SUSPENSION SYSTEM
STEERING SLAVE CYLINDER
FRONT & DRIVE AXLES SWAY BARS
INTEGRATED PNEUMATIC LEVEL-LOW LEVELING SYSTEM
LIFTABLE TAG AXLE
ELECTRICAL SYSTEM
FULLY MULTIPLEXED ELECTRICAL SYSTEM
12-VOLT EXT. LIGHTING
24-VOLT MAIN SYSTEM
SHELL ALTERNATOR (DRIVER A/C) 140 AMPS
MILLENNIUM INSTALLED HOUSE ALTERNATOR 335 AMPS
FACTORY-INSTALLED OPTIONAL EQUIPMENT
FACTORY SLIDE-OUTS (ALL-ELECTRICAL) 3 SLIDES
CURBSIDE FRONT NONE REAR 1’6” X 10’ 10”
ROADSIDE FRONT 2’ 6” REAR 1’6” X 10’ 10”
HIGH-INTENSITY HEADLIGHTS
FOG LIGHTS
RAMCO REMOTE CHROME HEATED REARVIEW MIRRORS
CENTRAL ELECTRICAL DOOR LOCKING SYSTEM
REMOTE KEYLESS LOCKING (ENTRANCE DOOR)
REMOTE KEYLESS LOCKING (COMPARTMENT DOORS)
TRAILER HITCH PACKAGE (20,000 LBS.)
LOW FUEL WARNING LIGHT
COURTESY LIGHTS BLINKER SWITCH
ENGINE AND COMPARTMENTS LIGHTING
KNOEDLER POWER CHIEF WITH HEATING, COOLING AND MASSAGING DRIVER SEAT
5 COLOR FACTORY EXTERIOR PAINT W/SPECIAL EFFECT AND SUPER CLEAR COAT
BACK-UP SOUND ALARM
HEADLAMPS CLEANING
XENON HEADLAMPS
GENERAL
LIGHTWEIGHT GRANITE COUNTERTOPS
AIR POCKET DOORS WITH ROD-LESS CYLINDERS
FLEXFOIL INSULATION ON INTERIOR OF SHELL
MARINE GRADE ELECTRICAL WIRE
LUTRON HOMEWORKS ILLUMINATION CONTROL SYSTEM WITH REMOTE DIAGNOSTICS OPTION
5 CRESTRON TOUCH SCREEN CONTROLLERS LINKED TO LUTRON HOMEWORKS OPERATING SYSTEM WITH I-PHONE / I-TOUCH AND LAPTOP CONTROLS
FULLTIME INTERNET WI-FI NETWORK CONNECTION
RUSSOUND CAV6.6 SIX-ZONE A/V PROCESSOR
(2) DVD/VCR RECORDERS WITH DIGITAL TUNERS
(2) SATELLITE DVR RECEIVERS
CEILING ACCENT ROPE LIGHTING THROUGHOUT USING LED TECHNOLOGY
MARINE GRADE SOLID BRASS ADJUSTABLE OVERHEAD LIGHTS
MULTI-ZONE AQUA HOT HEATING SYSTEM
INTERIOR AND EXTERIOR LED LIGHTING
MOTORIZED HUNTER DOUGLAS CELL SHADES
FRONT AND REAR CUSTOM SPOILERS
STATEROOM
MAIN VANITY
32” FLAT SCREEN LCD MONITOR
BOSE 321 GS SERIES SURROUND SOUND
AIPHONE INTERCOM WITH BUILT IN MONITOR TO VIEW ENTRY DOOR
MASTER LIGHTING SWITCH ON THE REAR NIGHTSTAND AND FRONT
ELECTRIC BLACK-OUT SHADES
PRE-WIRE FOR CEILING FAN
CARBON MONOXIDE DETECTOR
SMOKE DETECTOR
SPECIAL LIGHTWEIGHT SOUND INSULATION PACKAGE
FABRICA CARPETING WITH HIGH DENSITY PADDING
JR. KING ADJUSTABLE BED
LEFT AND RIGHT END TABLES AT HEAD OF THE BED
DRAWER BENEATH THE FOOT OF THE BED
MIRRORED CEILING
CUSTOM BEDDING
CARPET LINED WARDROBE CABINETS WITH CEDAR CEILINGS
LAVATORY
MID AND REAR LAVATORY WITH HEADHUNTER ELONGATED COMMODE WITH HOMETECH BIDET
OVERSIZED SHOWER IN REAR LAVATORY
120-VOLT VANITY LIGHTING
120-VOLT OUTLET IN BOTTOM AND INSIDE UPPER VANITY CABINET
FANTASTIC VENT WITH COVER IN COMMODE ROOM
AQUAHOT HEATER
PORCELAIN TILE FLOORS WITH GRANITE INLAYS
GRANITE COUNTERTOPS
SHAMPOO AND SOAP HOLDER
LOWER VANITY CABINET WITH FLUSH DOORS AND DRAWERS
MEDICINE CABINET
GALLEY
GE SIDE BY SIDE FULL SIZED REFRIGERATOR WITH 23.3 CUBIC FEET OF STORAGE
BREW EXPRESS COFFEE MAKER (RECESSED AND HARD PLUMBED)
TWO BURNER COOK TOP
STACKED BOSCH WASHER AND DRYER UNITS
MARINE-GRADE POWER PANEL
ADVANTIUM CONVECTION MICROWAVE
AQUAHOT HEATER
CENTRAL VACUUM
BAR DINETTE WITH ADJUSTABLE CUSTOM BUILT STOOLS WITH POP-UP COMPUTER/TV
SMOKE DETECTOR
AUTOMATIC INTERIOR LED CABINET LIGHTS
GALAXY GRANITE FLOORING WITH RED ONYX INCLUDING ELECTRIC FLOOR HEAT
FRANKE BEECH SINK SYSTEM WITH ACCESSORIES
SINGLE HANDLE FAUCET WITH BUILT-IN SPRAYER
FULL SIZED PANTRY
LIGHTWEIGHT CABINET CONSTRUCTION WITH WOOD VENEER AND POLYESTER FINISH
FISCHER PAYKEL DISH DRAWER
FRONT LOUNGE
LIFESTYLE V30 HOME THEATER SYSTEM
42’ LCD TELEVISION
ADAGIO MULTI MEDIA SERVER IN HD
EKRONE RECLINER
FIBERGLASS WINDOW SILLS
MOTORIZED HUNTER DOUGLAS CELL SHADES
SOFA (ELECTRIC FRAME) ON DRIVER’S SIDE WITH STORAGE BELOW
PILOT AND CO-PILOT SEATING AREA
110 VAC AND 12 VDC OUTLETS
KENWOOD/GARMIN AM/FM/DVD/GPS/MP3
MAPPING SYSTEM
15” ADJUSTABLE MONITOR AT PASSENGER SEAT
COLOR LCD BACKUP MONITOR WITH I-CONTROL FUNCTION
CB RADIO
MAP LIGHTS FOR CO-PILOT AND DRIVER
MASTER CONTROL SWITCHES
ELECTRIC PRIVACY SHADES
MAP STORAGE AND DRINK HOLDER
CARPETING BELOW THE DRIVER’S SEAT
KNOELDER AIR RIDE COOLED, HEATED AND MESSAGING DRIVER’S SEAT
BURL DASH PANELS
CUSTOM ENTRY DOOR DESIGN
SLIDE STEPWELL COVER
OPEN SHOE STORAGE IN STEPWELL
CUSTOM STEERING WHEEL WITH SMART FUNCTIONS
VILLA 28” WIDE CO-PILOT SEAT WITH THE FOLLOWING OPTIONS: RECLINE, FOOTREST, ELECTRIC SIX WAY POWER BASE, MASSAGE, HEATING, MAP STORAGE AND DRINK HOLDER
EXTERIOR GENERAL EQUIPMENT
UPPER AND LOWER LED BLUE ROPE LIGHTING
CB ANTENNA
CELLULAR PHONE ANTENNA
AM/FM ANTENNA
GPS ANTENNA
DIGITAL TV ANTENNA
INMOTION TRACSTAR SATELLITE
DISH WITH (2) RECEIVERS
COLOR DIRECTIONAL BACKUP CAMERA ON REAR OF COACH
AIPHONE DOORBELL / CAMERA NEXT TO ENTRANCE DOOR
4 FULL LENGTH ROOF MOUNTED AWNINGS WITH MOTION SENSORS (3-POSITION) SLIDEOUT / WINDOW / PATIO
(6) LED CURB LIGHTS
4 HIGH POWERED AIR HORNS IN NOSE FOR WIND NOISE REDUCTION
HWH ONE-TOUCH LEVELING SYSTEM
GENERATOR ROOF EXHAUST
CUSTOM PAINTED REAR WINDOW GRAPHICS
AQUAHOT ROOF EXHAUST
SIDE MARKER LIGHT TRIM
CHROME PLATED HEATED SIDE MIRRORS
LICENSE PLATE HOUSING-POLISHED S/S
MICROWAVE VENT
LED LIGHTS ON TOP AND BOTTOM OF COACH
BAY COMPARTMENTS
1ST BAY 101 CUBIC FEET OF STORAGE (CURBSIDE OR ROADSIDE)
2ND BAY 30 CUBIC FEET OF STORAGE (CURBSIDE)
3RD BAY 15 CUBIC FEET OF STORAGE (CURBSIDE)
(8) 8D MARINE DEEP CYCLE BATTERIES
(4) 3500 WATT OUTBACK INVERTERS
100 AMP VANNER BATTERY EQUALIZER
BATTERY TIE-IN RELAY (CONNECTING HOUSE BATTERIES TO CHASSIS BATTERIES AND CHASSIS BATTERIES TO HOUSE BATTERIES)
(4) BATTERY DISCONNECT SWITCHES
GLENDINNING ELECTRIC REEL FOR SHORELINE CORD (WITH WIRELESS REMOTE)SHORELINE CORD (60’)
ADAPTORS FOR SHORELINE FOR 30A AND 20A SERVICE
SHORELINE REVERSE POLARITY MONITOR
TELEPHONE AND CABLE TV CONNECTORS NEAR SHORELINE REEL
COAX CORD
AUXILIARY AIR COMPRESSOR WITH TWO SERVICE AIR CONNECTIONS (D/S AND C/S)
COSMETIC PANELS TO COVER ELECTRICAL EQUIPMENT
120 VOLT GFCI RECEPTACLES IN THE PLUMBING COMPARTMENT
330 AMP AIR COOLED ALTERNATOR FOR HOUSE SYSTEM
1 40 AMP AIR COOLED ALTERNATOR FOR CHASSIS SYSTEM
HVAC
AQUAHOT HEATER WITH THERMOSTATS IN PLUMBING COMPARTMENT
(4) ROOFTOP A/C UNITS LOW PROFILE (15,000 BTU’S EACH) CRESTRON CONTROLLED
120 VAC CERAMIC HEATER IN FIRST, SECOND AND PLUMBING BAYS
ELECTRIC FLOOR HEAT
GENERATOR
POWERTECH ULTIMATE 17.5 KW TURBO GENERATOR
GENERATOR AUTO-START FEATURE (CONTROLLED BY LUTRON AND CRESTRON SYSTEMS)
GENERATOR BATTERY BOOST CIRCUITRY
GENERATOR PRIMARY FUEL FILTER
START/STOP SWITCHES AT THE FOLLOWING LOCATIONS:
* GENERATOR
* DRIVER’S AREA POWER PANEL
* INVERTER PANEL
* CRESTRON TOUCHSCREENS
* ANY REMOTE ACCESS COMPUTER
ROOF MOUNTED GENERATOR EXHAUST
ROOF MOUNTED COOLING SYSTEM FOR GENERATOR
INVERTER BYPASS SWITCHES
PLUMBING
AQUAHOT WATER HEATING SYSTEM WITH (2) 1500 WATT ELECTRIC HEATING ELEMENTS
HEADHUNTER 120 VOLT WATER PUMP
WATER PRESSURE REGULATOR
CARTRIDGE WATER FILTER SYSTEM
2 HOSE CARRIERS FOR DUMPING HOLDING TANK HOSES
PAPER TOWEL AND SOAP DISPENSER
PLASTIC PLUMBING WITH FLEXIBLE LINES FOR VIBRATION ISOLATION
MANIFOLD SYSTEM WITH SHUT OFF VALVES TO ALL PLUMBING EQUIPMENT. (NO SHUTOFFS INSIDE THE COACH INTERIOR; CONTINUOUS LINES RUN FROM THE MANIFOLD TO THE FIXTURE)
STAINLESS STEEL COVER
POLYPROPYLENE FRESH WATER TANK WITH CLEAN OUT (200 GALLONS)
POLYPROPYLENE GREY WATER TANK WITH CLEAN OUT (100 GALLONS)
POLYPROPYLENE BLACK WATER TANK WITH CLEAN OUT (100 GALLONS)
ELECTRIC OPERATED DUMP VALVES
TANK LEVEL MONITOR GAUGES AT ALL CRESTRON PANELS AND REMOTE SYSTEMS
CITY WATER INLET WITH MILLENNIUM AUTOMATIC FRESH WATER FILL SYSTEM
GRAVITY FILL FOR FRESH WATER TANK
MANUAL TANK CLEAN OUT VALVES FOR GREY AND BLACK TANK
HOSE BIB
STAINLESS STEEL COSMETIC PANELS TO COVER PLUMBING EQUIPMENT
BUILT IN PRESSURE WASHER WITH 75’ LINE ON REEL (1450 PSI)
BUILT IN DEIONIZER WITH BYPASS FOR SPOT FREE RINSE MODE
MACERATOR WITH ELECTRIC HOSE REEL
ABS PLASTIC UNDER THE PLUMBING EQUIPMENT
ENTERTAINMENT CENTER
ENTERTAINMENT CABINET WITH STORAGE DRAWERS
REFRIGERATOR
BOSE 321 GS SERIES SURROUND SOUND
52” LCD FLAT SCREEN MONITOR ON PULLOUT ADJUSTABLE SLIDE SYSTEM
(4) ZIP DEE LAWN CHAIRS
KENYON CUSTOM SMOKELESS INFRA RED GRILL
I want to thank Robert Lang for allowing me to diagram this model. It has been published in OrigamiUSA’s newsletter The PAPER and Craft Magazine issue 05. It has also been made into a Weekend Project by Bre Pettis of Make Magazine!
I also want to thank Bekah for taking my class at OUSA’s 2007 Convention and then reverse-engineering the crease pattern so she could ROBOtize it herself out of polypropylene.
I got jealous and decided to map out all of the creases and then cut-score them, both sides, with the Craft ROBO. I made it out of the holographic 0.002" polyester film I’ve used on other models.
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
WIKIPEDIA
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
WIKIPEDIA
The Creasing Tool Type 2 - CTT2 is a universally applicable crease tool. It accommodates a wide range of crease wheels for folding carton, polypropylene, corrugated plastic and many other applications.
Further details: www.zund.com/en/creasing-tool-type-2
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
WIKIPEDIA
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
______________________________
A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
WIKIPEDIA
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
WIKIPEDIA
ESSENTIALS:
•Parka (Windbreaker) or Insulated Water Resistant Coat: Some ships provide parkas – please ask your Program Manager. Parkas should be large enough to wear over insulating layers.
•Waterproof Rubber Boots (“Wellies” or “Wellington Boots”), (12”-15”) with strong rubber-ridged, nonskid soles that fit well. These specifications are VERY IMPORTANT. You will be stepping into cold water up to 10” deep during wet landings. Moon or leather boots are not appropriate. (Note: Be sure your boots fit with one or two pairs of heavy socks – tight boots will be cold and uncomfortable). Suggested sources for rubber boots: sporting goods, army surplus, or camping equipment stores in your area. These boots are often referred to as “Wellies” or “Wellington boots.” Many good outlets are available online.
•Waterproof Pants/Rain Pants - Pull-on waterproof pants are very important for spray in the Zodiacs and wet landings. They should be roomy enough to wear over thermal underwear or regular pants.
•Cap and Neck Gaiter/Balaclava – Fleece is excellent since it is light and extremely warm; wool is also recommended. Hats with a brim to shade your eyes as well as flaps to protect your ears are ideal.
•Waterproof mittens and/or gloves – While gloves are convenient, mittens are warmer. Thin glove liners under thick mittens work well, since mittens can be removed to operate camera equipment.
•Sweaters – Medium weight wool or polar fleece
•Turtlenecks
•T-shirts/Warm Weather Clothes – Casual warm weather clothing is practical for layering and wearing aboard the ship.
•Warm Trousers – Wear wool slacks, cords, sweatpants, jeans, or expedition-weight fleece thermal underwear under your waterproof pants.
•Long Underwear – 2 sets; Capilene, Polypropylene, or Lightweight Silk
•Warm Socks – Bring several pairs of knee-length heavy socks and thin sock liners. For heavier pairs, rag wool is an excellent choice. Liners can be synthetic or silk. Remember that rubber boots are not well insulated, so you will rely on the warmth of your socks.
OTHER USEFUL ITEMS:
•Daypack that is sturdy, lightweight, and waterproof – extremely useful for taking extra clothing and camera gear on shore visits.
•Sun Protection – Sunscreen with UV filter, sunglasses, and lip protection
•Bathing Suit – For hotels and maybe a polar plunge or hot springs
•Camera – with extra batteries and twice the amount of film/memory you think you need
•Extra pair of prescription glasses or contact lenses
•Prescription Medicine – and a Personal Medical Kit with remedies for seasickness, upset stomach, allergies and pain relief
•Binoculars – compact ‘travel-size’ binoculars general do not perform well; we recommend magnification of at least 8x, weatherproofing (resistant to fog and/or water), multi-coated lenses, and a large focus knob for ease of use with gloves
•Collapsible Walking Stick/Trekking Pole – for negotiating uneven ground; some trekking poles feature a camera mount and can double as a monopod
•Electrical Converter & Adapter Plug – power aboard most ships is 220-volt with recessed European-type outlets; US standard 110-volt equipment with flat-pronged plugs require a voltage converter and a round, two-pronged European adapter plug
•Ziploc Bags – or a small dry bag to protect cameras and film when going ashore
•Woolite/Laundry Soap – if you plan to do any hand laundry
•Small Beanbag – to use as a camera tripod (reduces shake aboard ship)
•US $1 Bills – for taxi rides and gratuities before and after your cruise
•Pocket Calculator – for currency conversion
•Notebook, Pen and Address Book
•Toiletries
•Travel Alarm Clock
•Hand Warmers
Items we Recommend Keeping in your Carry-on Bag:
•Change of clothes (in case of luggage delay)
•Camera, flash, extra batteries, film or memory cards (NOTE: many airports around the world
have installed high-power detection machines that can damage exposed or unexposed film. Carry your camera and all film in your carry-on bag, and request that they be searched by hand. Film packed in clear Ziploc bags is easier to inspect.)
•Prescription drugs, if applicable. If you are taking prescription drugs, take along a prescription signed by your doctoring case you need an emergency refill.
•Extra pair of prescription glasses or contact lenses and sunglasses.
HELPFUL NOTES:
•Comfortable and casual clothing is recommended while onboard the ship and ashore.
•For Captain’s Welcome and Farewell parties/dinners, moderately dressy or “smart casual: attire may be appropriate. As each ship is different, please contact your Program Manager for specifics.
•The principle of layering: air is a great insulator, so trapping air in several layers of clothing will keep you warmer than wearing one or two very heavy items. You can also add or remove layers easily to remain comfortable at all times.
•Wool and silk clothing is recommended instead of cotton because they can trap warm air. Synthetic fabrics spring back into shape after compression and have excellent wicking properties. Polar fleece is popular and recommended. Polypropylene and Capilene wick moisture away from your skin and keep you warm without adding bulk.
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
WIKIPEDIA
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
WIKIPEDIA
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
WIKIPEDIA
FE = Faculty of Education of the 'Hogeschool Utrecht'. (HU)
Architect: Ector Hoogstad Architects, Rotterdam (2005-2007)
The building is built on 350 piles, contains 5,500 m3 of concrete and 2,800 m2 of glass. Despite this rather impressive volume, the concrete floors are relatively light-weight. They are constructed using the AirDeck principle of Marmorith. This monolithic floor system with bidirectional loadbearing capability is based on a formwork panel fitted with an array of robot-placed polypropylene airboxes, which are weight-saving hollow elements.
The most striking characteristic of the design is the wall panelling. Colourful aluminium strips are attached horizontally to the western façade. According to the architect: 'The façade is an expression of the occupants and their diverse activities, a metaphor for the HU's multifaceted community.'
Flickr Meet up in Utrecht with some members of the group Modern Nederland / Modern Dutch.
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
WIKIPEDIA
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
WIKIPEDIA
From top to bottom, left to right: kelp holdfast, Dog Whelk (Nucella lapillus), driftwood, beach stone, acorns (possibly Quercus rubra), Old Man's Beard lichen, balloon with ribbon, knot of polypropylene fishing rope, feather (probably Herring Gull), beach stones, kelp holdfast, Waved Whelk (Buccinum undatum)
prints available on my website: www.jenniferbooher.com
Like this connecting tubes fold but with the tubes pinched and the hubs on the inside
More sculptures by polyscene